Preparing InDesign Files for your Print Service

packaging-indesign-header

Often times when it comes to preparing files for a printer it can get really complicated really fast. Often times when I’m creating a design there are a lot of elements that I use in a file, most of which are images and fonts. It’s so complicated to remember EVERYTHING you put into a file so I discovered this cool trick you can use in InDesign to help package up all of your information for you! That way you don’t have to worry about missing anything. The function is called packaging. Here is how to package a file and what it does exactly.

*Note that this refers to InDesign CS4; CS3 refers to the “Packaging” feature as “Preflight”. Preflight has been expanded upon in CS4.

package-menu

To get the process started go to File > Package. Or if you love the keyboard shortcuts its: Alt + Shift + Ctrl + F (Mac: Option+Shift+Command+P). This will bring up a dialog box that gives you all the information about what is going to be packaged. What packaging does is put all your resources (links, fonts, Pantone colors, as well as a copy of the InDesign file) into one folder for the printer to easily access the files and information quickly. This way you don’t have to worry about a ticked-off printer coming back to you upset that your files weren’t all included with your submitted InDesign file.

package

You can go through the other sections below “Summary” to make sure everything is good to go. These tabs show everything that is going to be packaged into the document. Once you have reviewed this information click “Package”. This will take you to a Printing Instructions window. I always put my information in the document for the printer, one never knows if they may need to contact you. There is also an area for you to write specific instructions for the printer as well. This can come in quite handy if you want to use a special printing technique.

printing-instructions

After clicking “Continue”, a “Package Publication” window will pop up. Here you will choose a location on your computer to save a folder with all the InDesign file information and fonts and files used within the layout. Navigate to where you want the press ready folder saved and click “Package”. This will start the packaging process.

package-folder

Once the computer has finished saving your file, go ahead and navigate to the folder. If you look in the folder you’ll see your file is there with a separate folder for fonts and links.

preflight-folder-items

Can’t get much easier than that! Next time let your computer do all the heavy lifting.

Print Indie: Logo Lounge 5

How to Design a Font: {Part 4} Finishing Touches


Well this is it – the final part in my series “How to Design a Font”! Be sure to catch up with the previous articles in the series:
Part 1: Get inspired
Part 2: Draw up a Storm! and
Part 3: Make it Digital

Great now we’re finally into fontlab. This is pretty much the easiest part of the entire process, so no worries. First thing you need to do is open a new font. Go to File, New and a window will pop up with a bunch of different characters: uppercase, lowercase, and various other characters. If you double click any of the windows with a character in them, you will be able to add in your own design. When the character is grayed out that means there isn’t any information there.


Now all you need to do is copy the character in Illustrator and paste it into Fontlab. Something to keep in mind is you may have to look around for your letter after you’ve pasted it into the window. Usually it won’t perfectly paste near the grid lines. You may need to move around the canvas and grab the letter and move it to the grid area. Just make sure that you are selecting all the nodes.

When the nodes are selected they will be red. Just click and drag to select all of the nodes at the same time. If you’d like to select only one node than all you need to do is click one at a time, pretty simple right!

Something that I love so much about fontlab is that each node is given x and y coordinates, so it’s easy to move around the nodes perfectly into place. You can move the nodes using the arrow tools on your keyboard. If you hold down the shift and arrow key together you can move an object much faster. If you’d like to work on another letter you just close out of the character window you’re working in and double click on another one. Continue copying and pasting your letters into each of the windows until you have imported your entire font.


Wow, you’re so close to finishing up this font it’s scary! You’ll notice that there are dashed lines on each side of a letter; these are to help with kerning. The red line is used to tell you the measure the distance between the stroke and the dashed line, I use this all the time. So how exactly do you figure out the right spacing for your letters? I have to admit that I am not a kerning pro but I have a little recipe that I’ve gotten from my book, Designing Type, that I’ve found really helpful. It really helps you to understand how letters work together and breaks down pretty much every letter’s characteristics. I would really recommend buying the book because there are lots of useful tid bits on how to make a kick ass font. Below is the formula that I follow whenever I am working on the kerning for a font.

Spacing Capital Letters

1- Set the left and right sidebearings of the H. Each sidebearing is 25-50 percent of the width between the inside of the strokes. Sans serifs have tighter spacing than serif fonts.
2- Test the sidebearings of the H by setting the word ‘HHHH’. The letters should be harmonious – not too open or cramped.
3- Set the left and right sidebearings of the O. These sidebearings are slightly less than the sidebearings of the H.
4- Test the O by setting the word ‘HOH’. The O should appear balanced between the two H forms, and the color of the word should be even. If not, revise the sidebearings of the O.
5- Re-test the O by setting the word ‘HHOOHH’. Again, all six letters should be harmonious, and the color of the word should be even. If not, revise the sidebearings of the O. The initial H may also require readjustment.
6- Once the H and O are satisfactory, the other upper case sidebearings can be set as follows:

Diagonal and open letters with minimum space:

4-A-4 4-V-4 4-W-4
4-X-4 4-Y-4 4-T-4 4-J-1
Straight sided letters with heavy verticals:
1-D-5 1-P-5 1-R-4 1-L-4 1-K-4
1-B-3 1-E-3 1-F-3 1-U-2 1-I-1
Straight sided letters with light verticles:
2-N-2 2-M-1
Letters with round sides:
5-Q-5 5-C-3 5-G-2
Letters with a central spine:
3-Z-3 *-S-*

1 Equal to the sidebearing of the H
2 Slightly less than the sidebearing of the H
3 Half of the sidebearing of the H
4 Minimum sidebearing
5 Equal to the sidebearing of the O
*Must be adjusted visually

Spacing Lower Case Letters

1- Set the left and right sidebearings of the n. The right sidebearing will be slightly thinner than the left, since the arched corner is lighter than the vertical stem. The left sidebearing is 25-50% of the n counter.
2- Test the sidebearings of the n by setting the word ‘nnnn’. The word should be even in color, and neither tight nor loose.
3- Set the left and right sidebearings of the o. The sidebearings of the o are smaller than those of the n.
4- Test the o by setting the word ‘non’. The o should appear balanced between the n forms, and the color of the word should be even. If not, revise the sidebearings of the o.
5- Re-test the o by setting the following words: ‘nnonn’ ‘nnonon’ ‘nnoonn’
Adjust sidebearings of the o and/or n as necessary.
6- Once the n and o are satisfactory, the other lower case sidebearings can be set as follows:

Diagonal letters with minimum space:

4-v-4 4-w-4 4-x-4 4-y-4
Letters with short vertical stems:
1-r-4 1-m-2 1-j-1 2-u-2
Letters with tall vertical stems:
1-b-5 3-p-5 3-k-4 3-l-2 3-h-2 3-i-1
Letters with round sides:
5-c-6 5-e-6 5-q-1 5-d-1
Irregularly shaped letters:
*-g-* *-a-* *-s-* *-z-* *-f-* *-t-*

1 Equal to the left sidebearing of the n
2 Equal to the right sidebearing of the n
3 Slightly more than the left sidebearing of the n
4 Minimum sidebearing
5 Equal to the sidebearing of the o
6 Slightly less than the sidebearing of the o
* Must be adjusted visually.

Ok, now our kerning is complete! This is pretty tedious but it’s so important to get a nicely kerned font, I would say that it is equally as important as a nicely designed font. If your font is hard to read then who will want to use it? So to test out your kerning abilities open up quick test to see how the kerning looks. To open up quick test go to tools > quick test as > Open Type TT (.ttf). A window will pop up with how your font would look all typed out. You can highlight the text and add in your own. A good sentence to test out is: The quick brown fox jumps over the lazy dog. This will give you a good idea of how the characters will work in a sentence. You can also grab some Lorem Ipsum online to test out whole paragraphs. Print out a variety of sizes so you can see how the letters work large and small. REALLY scrutinize the font at this point. You want to make sure that it’s easy to read. If it burns out your eyeballs you should probably keep working on the kerning.




Once you get something you feel proud of, you’re done. My test is that if I want to show the project to everyone I know, that means I did a sweet job. Fonts aren’t as easy to make as some people may think, it has taken me weeks to finish a font. You should be really proud of yourself for kicking butt and making something awesome. After reading these tutorials if you have questions please feel free to email me. If I’m not too slammed with design projects I’d be happy to help critique fonts or answer any questions. Thanks for sticking it out and getting through this marathon of a tutorial!

How to Design a Font: {Part 3} Make it Digital!

The Grid

Now that you have your font pretty well figured out it’s time to get into the computer. First things first, setting up Illustrator. I like to first turn on the grid. This is the easiest way to transfer your font from the grid paper to the computer. To turn on the grid go to “view” under the menu bar, then “show grid”. Once you have the grid on you should turn on the rulers (also under “view”). Make sure to adjust your rulers to points instead of inches or whatever your default is. Just right click on the ruler and select “points”. The reason you want to be working in points is because that is the measurement system that fontlab uses too. Now what I do next is to figure out the height of my cap height, ascender height, median, baseline, and decender.


Now as a little refresher from our last tutorial remember that the cap height is just under the ascender height. The median is about 60 percent the total height between the baseline and ascender height. Might need to use a little math here; take your total height and times that by .6 and that is going to be your median. This isn’t an exact rule but traditionally that is where the median is placed. The height of your characters should be about 700 points high. I’ve noticed that sometimes when you import a character very small fontlab doesn’t perfectly paste the character’s nodes. If you have a character with lots of rounded areas sometimes fontlab will paste nodes weird. There is only a slight difference but it can be a bit annoying. Make sure you NEVER scale up your font once you get into fontlab.

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The Font Toolbox

Alright, now that you are all set up it’s time to get crackin’. How I start out is making a font “toolbox”. What I usually do is make a variety of different forms that I’ll use for the rest of the font. This way you make sure that all the forms are completely the same. Here is an example of a font “toolbox” that I use to make Usonia. Amazingly you don’t need that many pieces to create a font. If you are making a script font a toolbox probably isn’t going to work well. What you might want to do is simply scan in the grid paper and trace directly into Illustrator.

Every font is different with different accents you may want to add to the characters. The best thing to do is to figure out what pieces you’d like to use pretty regularly and make the shape. The key here is usability, try and make the shape as usable for as many characters as possible. These are the types of shapes I make: stroke, serifs, shape that connects strokes, additional accent pieces. There isn’t a hard and fast rule to making certain shapes, just make pieces you see yourself using a lot. Cool, now we are good to go onto putting together the letters.

So what I do at this point is refer back to my drawn shapes I made before, this is basically like my blueprint for the characters. What I do is copy and paste the pieces out of the toolbox I think I’ll need to start arranging them into the characters. If you find that you need to make a stroke make sure that you expand the stroke so that it turns into a shape. To do that go to “object” then “expand”. A little window will pop up that asks if you want to expand the fills the strokes. Just click OK.

As I am working on a font these are some of the most common tools that I use:

Transform: Sometimes you want a shape to not change size, just orientation. Use “object” then select “transform” from the drop down menu. You’ll have all your options there to pick whatever you’d like to do. It’s a lot faster than trying to completely redraw your shape!

Direct Selection Tool (open arrow): I use this tool a lot if I want to delete or move particular nodes.

Pen tool: I use this a lot to make extra pieces. I like to make rounded parts of my letters a lot so I most often use the pen tool for those. If you want to make a rounded corner then click in one place on your canvas, then try and pick a place diagonally away from that point and hold down your shift key and drag and it will use only 90 and 45 degree angles to make the curve.

Zoom tool: Really zoom into your font to make sure that all your separate pieces are lining up right. I usually zoom into my font for fine tweaking whenever I am moving a piece into place.

Once you have assembled all your pieces together you’re almost done. Make sure that all your strokes are expanded and you’re ready to merge the shape together. If you don’t expand your strokes you will run into issues since fontlab doesn’t read strokes, only shapes. It will see a line but nothing filling in that line, so strokes in fontlab just look invisible. So now that all of our strokes are expanded we can merge the shape. Open up your pathfinder tool. There are several different options you have here. The one you will most commonly use is “merge”. This one takes all the shapes you have selected and merges them into one shape. To help avoid problems later on its best to just merge in Illustrator and get the font looking EXACTLY how you want now. I only like adjusting kerning (space between letters) in fontlab.

Now let’s say you want to make a grunge looking font. Grab one of our grunge vectors and you can overlay that on your letter. Now with both selected click in the pathfinder tool “minus front”. Generally this should work for you but honestly I’ve noticed this tool is a little funny. If this doesn’t work or subtracts pretty much your entire letter then try another tool or select only part of your letter with the direct selection tool and try it then. Sometimes a process of elimination works best.

Ok now that you have all of your shapes together it’s time to do a little cleaning. So what I’ve noticed with the merge tool is that it will add extra nodes sometimes to the shape. What you have to do is zoom way into your letter and, using your pen tool, delete these extra nodes. This may seem sort of tedious but sometimes fontlab can make your letters look jagged so getting rid of these extra nodes leaves you with a smooth curve. What we’re trying to do is make sure that the font is as PERFECT as possible before you get into fontlab. Once you get into fontlab, believe me it’s all downhill from there!

So once you have done all of these steps for every character you’re probably pretty tired! Making a new font is a LOT of work. So take a quick break, and grab yourself a little snack! Once you’re fueled up it’s time to make your characters huge! I’ve noticed that fontlab has a default size of 700 points tall. So you could start out at that size. Make sure you grab ALL of the letters and special characters and size them all at the same time. You spent all that time getting them perfect, the last thing you want to do is size them up individually and then they’re all different sizes. Amazingly you can really tell if some letters aren’t the exact same size. Keep in mind that it doesn’t matter if you go outside the canvas area, since you’re not printing this it doesn’t matter if the characters are all inside of the live area. Usually when I size up my fonts they go pretty much to the end of the entire work space! What I usually do is turn on my rulers and put guides at 0 and 700 so I know exactly how large to make the letters. Well that is pretty much it for Illustrator.

Now we’re ready to get into fontlab so get ready for the fourth and final installment sometime next week!

How To Design a Font: {Part2} Draw Up A Storm!

Terminology

Before we get into the meat of this tutorial I want to give you a crash course in font terminology. I know it’s not exactly the most exciting thing but I seriously think it’s good for you to know this before we get too far.


Sans serif: A type of font that doesn’t have accents on the end of its strokes.


Serif: A font that has little accents on the end of its strokes.

Vocabulary to Know:
Baseline: The line that the letter sits on.
Median: the middle line where lowercase letters end.
X height: the distance between baseline and median, traditionally 60 percent of the total height of the cap height.
Cap height: the line where capital letters end.
Ascender height: The line where ascenders end, only slightly above the cap height.
Ascender: the part of a lower case letter that extends above the median.
Decender: the part of a lower case letter that goes below the baseline.

Sketching

Now that you have your inspiration and an idea for your font it’s time to put it into action. I think that some designers sort of forget about the sketching process. It’s honestly the MOST crucial. The beauty of sketching is there isn’t a sense of commitment. You can crank out loads of ideas very quickly since you aren’t worried about making the design look perfect. It’s a lot faster to do 10 loose sketches on paper than trying to do the same thing on the computer. I remember one of my professors once said that the computer is a tool, no different than a pencil or pen, don’t rely on it to design for you.


There are several different ways in which you can draw some ideas. I use a combination of ways to get my thoughts together. Usually I use a scroll that’s always on my desk for sketching. The reason I use a scroll instead of a piece of paper is because I like not being limited by how many sketches I can do. Plus, it’s all contained in that one roll so I never have to worry about losing a sketch.


In the sketching process I will draw a few characters that I think might help me figure out the characteristics of the rest. Here are the characters that I usually start out with first: a, e, g, n, d. You can also do a few capitals as well like: A, E, G, M. From these characters it will give you a good variety of forms that are pretty similar in other letters. Start out designing these letters and see what you think. If they’re working try some more, if not then you haven’t wasted your time designing an entire font that sucks.


Draw a variety of perspectives of the font as well. I usually like to draw a few pieces of the font to show how different pieces are going to connect. Don’t be afraid to draw really quickly at first. When you start seeing something you like, draw a few different versions of that idea to see what you like best. Never settle for your first idea. Sometimes I will also write notes on the side of my sketches just to remind myself of something when I do the final sketch.

This initial sketching time is sort of like a funneling process to get down to that one idea that you are really excited about.

Once you’ve got a pretty clear idea of where you see the font going, it’s time to get out the grid paper. This is when you are going to draw out ALL of your characters. I like to use grid paper just because I can get the proportions between letters right on. Keep in mind that all your letters aren’t going to take up the same width, but they should be the same height. Some letters like “M” and “W” are going to take up a lot of width but letters like “I” don’t take up much at all. At this point in your sketching you’re still not fully committed to one idea, so feel free to play around with different ideas. Sometimes I will do a few different versions of a letter if I’m still not satisfied.

Next Time: Going Digital

Now that you have all of your characters drawn it’s time to get digital. Sometimes I will scan in my grid paper drawings and just trace them in illustrator. You can also just look at the drawings to design the characters, whatever works best for you. If this is your first font maybe you should go from a scan.

How to Design A Font: {Part 1} Get Inspired!


I haven’t written a blog post in a while so I thought it was time I jumped right in and did a tutorial series about fonts. There will be three more tutorials that will follow this one. Their forces combined will account for pretty much everything I know of how to make a font. So grab yourself a red bull and your favorite salty snack and let’s get to it!

Whenever I sit down to make a new font the very first thing that I need is some inspiration. Ok, easier said than done. Sometimes I stare down a blank sheet of paper and my mind goes blank! So what to do. . . Well here is a list, in no particular order, of ways in which you might get some inspiration to create your own typeface. Everyone has their own methods that work best, these are just the ones I use.

1} Be aware of what other type designers are doing.

You always want to be trend setting in the design community, what’s the point of creating the same thing someone else has already? It’s very important to be designing something that nobody has seen before, that has your own style. What I’ve learned is that by looking at amazing work it motivates me to make something equally as amazing. I love checking up on some of my favorite designer’s latest pieces. I would HIGHLY recommend that if you haven’t already gotten hooked up into a social bookmarking site, do it now! It’s cool, I’ll wait. I use delicious as my bookmarking site of choice. Of course there are TONS of these types of sites so just find one that fits your taste. Here is a short list of some other bookmarking sites that I am aware of: blogmarks, digg, blinklist, feedmarker.

The benefit of having an account with one of these link posting sites is that you have access to your bookmarks at any computer in the world, if your computer crashes your bookmarks aren’t lost, you can share bookmarks with your friends, you can organize your bookmarks so they’re easy to find, do I really need to go on? Usually whenever I’m on one site I’ll follow some links and somehow find myself on a really sweet, random site. I have a horrible memory so I know the only way I can see the site again is by immediately bookmarking it.

So you may be wondering what websites I enjoy looking at to get some inspiration. Well, there isn’t a short and easy answer to that. Usually what I like to do is just get into my delicious account and poke around sites i’ve taged as “design” or “inspiration”. Sometimes I will have to go around to several different sites before I feel those creative juices flowing. I don’t think it’s necessarily good to only look at one website for ALL your inspiration. Look at a variety of work that might trigger new and exciting ideas.
Here are some of my favorite places to see what other designers are up to: behance (several of us at Go Media are on here), webcreme, ffffound, surfstation. From these websites you can find loads of obscure firms or designers that are doing some amazing work. This will at least get you started in the right direction; follow links around to different sites and see where they take you! It never ceases to amaze me the cool, random things I’ve discovered through these sites.

2} Research, research, RESEARCH!

When I was in school pretty much 75 percent of our energies were given to researching. Rationalizing EVERY line and color choice. Professors did not accept the answer “I just think it looks cool”. I still research before I start designing any font so they are more than a pretty face. Pun INTENDED! For example, while in school, we were given an assignment to create a typeface for the future. We were asked questions like: how will we communicate in the future, Will the alphabet still exist, and so on. From this I came up with a few different ideas. Three fonts were designed for this project. One was diffraction, one was celest and the final one was constellation. Diffraction and Celest are available in our arsenal but constellation is not because it isn’t a usable typeface for the computer. People would use this typeface by connecting stars using lights. Each letter is represented by a star, so words would be constellations.

So how/why do you research a font you may ask? Well think of a topic you are interested in: shopping, computers, food processing, abandoned buildings, the environment, ect. I usually use Wikipedia as a good starting point for research. Don’t use that as your ONLY form but it helps to get some basic information fast. From there you can check out a library book or ten (we pay taxes for a reason right?!). Try and learn everything you can about the subject matter, this will help give you visual cues as you’re researching. The more we know, the stronger our final solution will be. Keep that sketch book nearby! You may come across something while researching that will spark your imagination that never would have happened before. It gives your work a sense of depth and complexity that without research would be meaningless. I have found that the more research I do before a project, the better final solution I get.

3} Restrict yourself!

Ok, I know this sounds a little nuts but sometimes when you’re staring down a blank sheet of paper your mind can go blank too. Sometimes clients come to us and say “Just make a cool looking design”. We try and get more information from them but they really have no idea what they want, just “something cool”. This can be sort of tricky, so what I do in these cases is I try and think of a topic I’m interested in and work off of that.

For example, for Usonia, I thought it’d be fun to design a font based on Frank Lloyd Wright and one of my favorite buildings he designed, Fallingwater. I looked at all the pictures I took while visiting Fallingwater and found inspiration for forms based on the ways in which windows opened or thick and thins created by the stone.

Restrictions can be pretty much any sort of boundary that you want to make up for yourself. Like a dog placing his own invisible fence! You could limit yourself to designing a sans serif font with lots of thick and thin areas in the characters. This may seem a little crazy but it honestly does help sometimes when faced with infinite possibilities.

4} Keep a journal handy.

Let’s face it, sometimes you just can’t control when a great idea is going to come along. I always have a moleskine on me just in case I’m in line at panera bread and randomly think of a great new idea. Sometimes I’ll have days when I think of a million great ideas but others were I just can’t think of a design to save my life! That’s where the sketch book comes in. I just flip through that and see what ideas I had before and use that for a starting point on days I am not quite as inspired. Everyone has a different process for getting their ideas down. I will often write out my ideas instead of sketching them since I know a little drawing wouldn’t help me remember. Concepts inspire me more than visual form most of the time. Do whatever works for you. If it helps to jot down a picture do that, anything that will help you remember the idea.

5} Accept the fact that inspiration can come from anywhere.

I don’t know about you, but sometimes I will be walking down the street and I’ll see an interesting crack in the concrete or look out my window and see an interesting pattern that sparks my imagination. Sometimes the stupidest/simplest things get me thinking of a new idea. I think it’s important to be always be looking out for these ideas.

One thing I’ve learned about being a designer is that it’s a lifestyle not a career. Surround yourself with inspiration; my apartment is filled with posters, pictures and objects that keep me thinking of new and exciting ideas. Surround yourself with things that get you inspired and before you know it you’ll be cranking out those stellar ideas.

Stay tuned for part 2 to come next week!

Launch of Cambria Suites Site

Go Media is pleased to present the new website for Cambria Suites. This is not your traditional hotel website with information laid out in a straightforward manner. With the unusual videos taking place in each room, you can see that Cambria Suites is looking to break out of the traditional hotel website mold. We have created a site that is interactive, informative, and tells a story. The end result is a solid, well designed layout that creates a memorable impact on the consumer. With room for your imagination, Cambria Suites is allowing guests to make their own story and add it to the videos featured on their site. Go Media is excited to be part of a project that is stepping outside the box and providing customers with a way to have fun with their purchase.

Workflow Tip: Illustrator to Fontlab


Tutorial: Creating fonts in Illustrator and Fontlab – Part 1 from Go Media on Vimeo

This video is a brief introduction into how to prepare a font you design in Adobe Illustrator for Fontlab. Fontlab is the program of choice for building and managing fonts. There are a few steps that you need to do to prepare your illustrations to work within Fontlab but I tried to show you the most basic way to work in Fontlab.

Later on I will be creating far more extensive videos that will teach you much more that you can do within Fontlab. At Go Media we are going to start sharing video tutorials of how we do some cool tricks and tips on how to work better in creative software.

I have never done a video tutorial before so your feedback is greatly appreciated! Please let me know what you think and how I can improve!

Katie’s 5 Tips for Typeface Development

Some of you may know, I’m a typography nut and I have created a few fonts for Go Media’s Arsenal. This article is little precursor to a more extensive article that we’ll submit later on about finding inspiration for typeface and font development.

As a designer I have found that you can get inspiration from anywhere. The process of creating typography is as much like creating any other type (pun intended!) of art as painting or drawing. Typography can give a political, social, psychological, or economical statement. Often the fonts I design reference my own opinions of how our world functions. A true mark of an exceptional type designer is someone who can stimulate you visually and intellectually. In this article I’m going to break down some of the ways in which you can utilize some skills you might not know you already have!

1} Carry a sketch book with you everywhere. My sketchbook of choice is a Moleskine. You can find them at your local Barnes and Nobles. I write my thoughts and ideas in it whenever I’m out and about and get hit with inspiration. Ideas will come at you so fast you have to be able to write them down or you’ll forget them. Plus, if you have a doctor’s appointment it’s nice to have something to do while you wait in the lobby!

2} Become a student of typography. There definitely is a difference between breaking the rules, and breaking them well. How do you know the rules? You need to study