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istd2009International Society of Typographic Designers

istd2009educationresourcesInternational Society of Typographic Designers

IN PARTNERSHIP WITH FROST DESIGN

From

To ISTD

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Fax no.

Subject

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st*Desig

n P

ty Ltd

1st Flo

or 15

Fo

ster S

treet S

urry

Hills N

SW

2010

Syd

ney A

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3 F

acsim

ile +

61

2 9

28

0 4

26

6w

ww

.frostd

esig

n.c

om

.au

Com

pany

Date

Job no.

Pages including this one

Becky C

hilcott MIS

TDA

ustralasian Co-ordinator IS

TD

+6

1 8

94

33

53

86

21

09

08

Ray P

arslow1

ISTD

brief – S

tudent Assessm

ent

Typography and the environment

Print or screen project

Explore the relationship betw

een typography and the environment – does the environm

ent create typography or typography create the environm

ent?

Explore your environm

ent and discover the type that is lurking – often unobserved or there and overt. Seek out natural or

man-m

ade structures (or both) that create letterforms either in their ow

n right as a single object or as a intersection of elem

ents creating a typographic form.

Take these observations, interpret them through your typographic exploration and create a unique alphabet (or alphabets)

based on your discovery. This should not only be limited to the R

oman alphabet, each different geographic location

and typographic observer/designer in different language regions should be able to distinguish a unique typographic arrangem

ent relative to their language from their environm

ent.

The Brief

Your aim is to create a font based on your observations and interpreting these into a unique font. D

ocument your

typographic exploration and your font in your final presentation. The format could be expressed as a publication, book,

poster or screen-based piece – website, D

VD

or animation that uses at least one com

plete alphabet example from

your chosen local area and language to dem

onstrate typographically your observation and interpretations.

Support this by using one or m

ore additional fonts that are currently designed to express your discovery and typographic developm

ent. Of course, legibility of font should be considered, hierarchy of inform

ation and typographic clarity as well as a

coherent layout are key elements that should be included in your visual presentation of this brief.

The graphic execution must also reflect consideration of production opportunities and techniques. If choosing a print based

option, how should it be printed? W

hat alternative substrates or materials could be used that m

ay present interesting opportunities that support your type discovery and font. Layering, translucency, tactile form

expression could be used to nam

e a few for print base executions. W

hilst in the digital form, it could be an interactive piece or anim

ated sequence. Here

you are encouraged to be innovative and explore the medium

. Intelligent use of editing, sound, motion, im

age interaction and overlay etc. offer great opportunity for a typographic based expression of your font.

Going back to the title of this project, your letterform

could be expressed three dimensionally – taking your typographic

font back out into the environment. H

ere sculptural forms, light and shadow

and the perception of three dimensional form

could be used to advantage to create your typeface. D

ocumenting this expression through photography or video etc to be

included in your submission piece.

Whatever approach you adopt it m

ust visually intrigue and stimulate the observer.

Target Audience

Designers, architects and students engaged in design and lovers of typography.

The ISTD Education Team are committed to developing a resource for those engaged in typographic education. A major part of that development process is being achieved through use of our Student Assessment archive.

The projects in this file were those used in the 2009 Student Assessment and are offered for educational use or reference. We would appreciate acknowledgement when used.

The Education Team value your comments and feedback on the use of this and our other archive material.

John McMillanEducation Officer [email protected]© istd 2009

The Society’s education activities are generated and co-ordinated by the ISTD Education Team. Originally a group of design academics with a geographic coverage of the British Isles, it has expanded to represent our international activities and members in professional practice.

The Student Assessment projects are the result of months of correspondence by email, Skype and meetings, involving all members of the team, other members of ISTD and others who share our common interest and commitment to typographic education.

istd2009education teamInternational Society of Typographic Designers

John McMillan University of Ulster, Northern Ireland ISTD Education Officer

Becky Chilcott chil3, Fremantle Australia/New Zealand Co-ordinator

Ivan Cooper Educational Consultant, England

Jeanne Cummins Arts Institute at Bournemouth, England

David Dabner London College of Communications, University of The Arts, England

Peter Dawson GRADE Design, London, England ISTD Vice-Chair

Brenda Dermody Dublin Institute of Technology Ireland Co-ordinator

Jonathan Doney Somerset College of Arts and Technology, England ISTD Chair

Robert Harland Nottingham Trent University, England

David Herbert Duncan of Jordanstone, University of Dundee, Scotland

Mike Hope Educational Consultant, England

Alison Johnson University of Teesside, Middlesbrough, England

John Kortbaoui Notre Dame University, Louaize, Lebanon Middle East Co-ordinator

Sabina Monza-Goday CUBI, Barcelona, Spain Spain/Portugal Co-ordinator

Marc Peter on-idle, London, England

Jack Renwick The Partners, London, England

Freda Sack Foundry Types, London, England ISTD President

Tiffany Turkington-Palmer FlowSA, Johannesburg Africa Co-ordinator

The criteria we use for assessment reflect what we require as elements for submission. We see these as an expression of appropriate practice for student designers and part of our support for typographic education. All of these criteria are used in the assessment of each project in both print and screen-based formats.

TYPOGRAPHIC INTERPRETATION (50%)• Typographic interpretation, creativity and control must be central to your proposals.• Evidence of creative and innovative thinking is essential.• Each project requires sensitive integration of words and images. However, we discourage the overt use of imagery and suggest a subtle and sensitive approach to the inclusion of any illustrative content. Remember that your solution must be essentially typographic.• The hierarchy of information in both print and screen formats must be clearly expressed through the inclusion and formatting of at least 500 words of text into your design.• Legibility, whether in print or on screen, must be considered – and resolved.• Consideration, where appropriate, should be given to the relationship between sound and movement (screen-based submissions).

RESEARCH AND DEVELOPMENT (20%)• All submissions must be supported by relevant primary and secondary research material.• Your research and development work should show that a range of ideas have been explored before developing your selected concept. Make sure that you present this material in an order that allows us to follow your thought and design process. • Design development on screen must be described through hard-copy evidence. • The total amount of this material should not exceed the equivalent of one a3 layout pad.• You must cite fully your bibliographic/web sources and, where relevant, credit images.

STRATEGY (10%)• Each submission must be accompanied by a strategy of 500 –1,000 words, describing the thought process underpinning your design proposals.

• It should express what has driven your concept and its design development – not just a retrospective description of the various elements or a ‘log’ of what you did. • While the strategy will be read by assessors you should write it to be understood by a client.

SPECIFICATIONS (10%)• Typographic and production specifications, must be included in all submissions. • Using your layouts, create fully annotated typographic specifications and grid(s).• Samples of paper stock and other materials used in print production should be attached.• Refer to the Specifications Guides later in this document.

PRESENTATION (10%)• Presentation, as ever, is important but no substitute for a weak idea.• Ensure that screen-based submissions have been tested for use. Occasionally we cannot open files. These proposals, that otherwise may have succeeded, sadly fail. • All print submissions should incorporate a non-returnable DVD/CD ROM with at least ten presentation images of the final proposal. It is very important that these clearly illustrate any large and/or three-dimensional elements that cannot be included physically in your a2* portfolio. Screen-based submissions must, equally, consider the appropriate form and content for presentation• When submitting, ensure that you indicate your project choice, by number, and whether screen or print, on a label from the last sheet of this file – fixed firmly to your portfolio.• Finally, check that all of the requirements of your chosen brief are included and clearly identified.

* Each submission must be sent in one robust, clearly labelled, portfolio – no larger than a2. We will no longer accept submissions that do not satisfy this simple criterion.

istd2009assessmentcriteriaInternational Society of Typographic Designers

ENTRYFull-time students at universities and colleges, internationally, are eligible. As membership of the Society is awarded to successful entrants, only the work of individual students can be assessed. ISTD does not accept entries that are the collaborative work of two or more students. All entries should be exclusively in English unless given prior approval by the Education Officer.

REGISTRATIONRegistration for all assessments must be carried out by tutors. All students from each institution should be included in a single registration using the Registration Form included later in this document.

FEESThe Registration fee is £25/¤30 per student submission (Institutional Member £20/¤24).Submissions that are presented for assessment and have not been registered and/or have not paid the Registration Fee will not be assessed. Proforma invoices will be raised by ISTD only on receipt of an official university/college order.

DEADLINES FOR REGISTRATION Main/UK 13 February 2009Ireland 13 March 2009Middle East 24 April 2009South Africa 28 August 2009Australia/NZ 25 September 2009

On Registration, further information, including arrangements for delivery and return, will be sent to you.

Please meet the Registration Deadline as this allows us to gauge the number of assessors required.

DEADLINES FOR SUBMISSIONS Main/UK 13 March 2009Ireland 24 April 2009Middle East 29 May 2009South Africa 11 September 2009Australia/NZ 30 October 2009ASSESSMENTEach submission is assessed by a two-person team, usually comprised of a member from education and one from industry. All material is examined, taking around 30–40 minutes. The outcome is ratified by a team of Moderators who maintain parity across the assessment teams. If necessary, the entry is passed on to a second stage panel for further appraisal. All entries gaining Merits and Commendations are further assessed. Results and Reports will be published within a month of each of the Assessments.

AWARDSA Student Awards Ceremony takes place during June in London. All successful students from the Main and Ireland Assessments, and their tutors, are invited to be presented with their ISTD Membership Certificates. Individual arrange-ments are made for our other assessments. Those nominated tutors with successful students also receive Tutor Certificates.

IMPORTANT NOTEISTD makes digital records of all successful student submissions and reserves the right to use this material as it deems appropriate.

ISTD will not accept claims for payment in respect of using any such recorded material.

istd2009entryInternational Society of Typographic Designers

The ISTD Student Assessment Scheme began in 1975. The Society had been considering requests to accredit courses but the Assessment Scheme was an option that offered benefits to both tutors, students and, ultimately, to industry.

The introduction of Institutional Membership has allowed us to improve communication between ISTD and tutors and, importantly, maximise the benefits to typographic education through use of our considerable archive of student typographic design. Our hope is that, as this area develops, we may develop the benefits.

INSTITUTIONAL MEMBERSHIP offers the following –

PROJECT ARCHIVE Each successful student project is photograph-ically archived. This combines images of research, development and presentation elements. Each member institution will receive a comprehensive photographic archive of each year’s successful project submissions – a valuable teaching resource that is otherwise restricted to our Education Team.

PUBLICATIONS As a member institution you will receive copies of Typographic the Journal of ISTD; Condensed, the members’ newsletter and all other occasional publications during each year of membership. Our New Member Starter Pack includes a copy of our publication Typographic Writing, edited by David Jury. Institutional members are also entitled to discounted back-issues of public-ations bought online.

REGISTRATION FEES Member institutions will receive a 20% discount on student Registration fees for the Student Assessment

MEMBERSHIP CERTIFICATE Each member institution will receive an annual Membership Certificate that may be displayed publicly.

ISTD LOGO The ISTD logo may be used by member institutions for marketing purposes (with conditions for use).

INVITATIONS Invitations and, where applicable, discounts to all ISTD events, including exhibition openings, talks, lectures and workshops.

STAFF DEVELOPMENT Staff from member institutions will qualify for opportunities to participate in one of our Student Assessments and be mentored by one of the ISTD Education Team.

CONSULTATION As a Member Institution, staff will have preferential access to the Education Team for consultation on the Student Assessment Scheme and other ISTD Education activities.

INSTITUTIONAL PRESENTATIONSPresentations on the work of ISTD and the Annual Student Assessment Scheme by the Education Officer or members of the Education Team can be arranged with member institutions.

Further information on applying for Institutional Membership is available from [email protected]

istd2009institutionalmembershipInternational Society of Typographic Designers

Does the environment create typography or typography create the environment?

Explore your environment and discover the type that is lurking – often unobserved – or there for all to see. Seek out typographic forms or structures that create typographic compositions either in their own right as a single object or as an intersection of elements creating a juxtaposi-tion of typography.

Take these observations, interpret them in your typographic exploration and create a bespoke design piece based on your discovery. This should not only be limited to the Roman alphabet, each different geographic location and typo-graphic designer in different language regions should be able to distinguish unique typographic arrangements relative to their language and environment.

The Brief Your aim is to create a typographic information piece(s) based on your observations and research. The format could be a publication, book, poster (or a combination of these) or a screen-based piece – website, DVD or anima-tion from your chosen local area and language to demonstrate typographically your observa-tions and interpretations.

Going back to the title of this project, your typographic piece could be expressed three dimensionally – taking your typography back out into the public environment. Sculptural form, light and shadow and the perception of three dimensional forms could be used to advantage to create an interpretative experience. Capture this expression and people’s interaction with your composition through photography or video etc to be included as part of your submission.

Your typographic layouts need to show creative and innovative use of type to express your

discovery. Of course, sensitive use of typogra-phy, with legibility, hierarchy of information, typographic experimentation and a coherent approach to layout should be integral to your visual presentation of this brief.

The graphic execution must also reflect your consideration of production opportunities and techniques. If choosing print-based media, how should it be printed? What alternative substrates or materials could be used that may present interesting opportunities that support your typography and layout? Layering, trans-lucency, tactile form expression could be used, to name a few, for print-based executions. A screen-based approach could develop an interactive piece or animated sequence. Be innovative and explore the medium. Intelligent use of editing, sound, motion, image interaction and overlay etc. offer great opportunity for a typographic-based expression.

Whatever approach you adopt it must visually intrigue and stimulate the observer.

Target AudienceDesigners, architects and students engaged in design and lovers of typography.

Requirements• Research and Development• Strategy • Specifications/Grid(s) • Dummy/Prototype(s) • Presentation

Cross-reference this project brief with the ‘Assessment Criteria’ sheet.

Submissions will only be accepted in one robust portfolio no larger than a2.

istd2009project01International Society of Typographic Designers

IN PARTNERSHIP WITH FROST DESIGN

From

To ISTD

Brie

f

Fax no.

Subject

Fro

st*Desig

n P

ty Ltd

1st Flo

or 15

Fo

ster S

treet S

urry

Hills N

SW

2010

Syd

ney A

ustra

liaTele

ph

on

e +

61

2 9

28

0 4

23

3 F

acsim

ile +

61

2 9

28

0 4

26

6w

ww

.frostd

esig

n.c

om

.au

Com

pany

Date

Job no.

Pages including this one

Becky C

hilcott MIS

TDA

ustralasian Co-ordinator IS

TD

+6

1 8

94

33

53

86

21

09

08

Ray P

arslow1

ISTD

brief – S

tudent Assessm

ent

Typography and the environment

Print or screen project

Explore the relationship betw

een typography and the environment – does the environm

ent create typography or typography create the environm

ent?

Explore your environm

ent and discover the type that is lurking – often unobserved or there and overt. Seek out natural or

man-m

ade structures (or both) that create letterforms either in their ow

n right as a single object or as a intersection of elem

ents creating a typographic form.

Take these observations, interpret them through your typographic exploration and create a unique alphabet (or alphabets)

based on your discovery. This should not only be limited to the R

oman alphabet, each different geographic location

and typographic observer/designer in different language regions should be able to distinguish a unique typographic arrangem

ent relative to their language from their environm

ent.

The Brief

Your aim is to create a font based on your observations and interpreting these into a unique font. D

ocument your

typographic exploration and your font in your final presentation. The format could be expressed as a publication, book,

poster or screen-based piece – website, D

VD

or animation that uses at least one com

plete alphabet example from

your chosen local area and language to dem

onstrate typographically your observation and interpretations.

Support this by using one or m

ore additional fonts that are currently designed to express your discovery and typographic developm

ent. Of course, legibility of font should be considered, hierarchy of inform

ation and typographic clarity as well as a

coherent layout are key elements that should be included in your visual presentation of this brief.

The graphic execution must also reflect consideration of production opportunities and techniques. If choosing a print based

option, how should it be printed? W

hat alternative substrates or materials could be used that m

ay present interesting opportunities that support your type discovery and font. Layering, translucency, tactile form

expression could be used to nam

e a few for print base executions. W

hilst in the digital form, it could be an interactive piece or anim

ated sequence. Here

you are encouraged to be innovative and explore the medium

. Intelligent use of editing, sound, motion, im

age interaction and overlay etc. offer great opportunity for a typographic based expression of your font.

Going back to the title of this project, your letterform

could be expressed three dimensionally – taking your typographic

font back out into the environment. H

ere sculptural forms, light and shadow

and the perception of three dimensional form

could be used to advantage to create your typeface. D

ocumenting this expression through photography or video etc to be

included in your submission piece.

Whatever approach you adopt it m

ust visually intrigue and stimulate the observer.

Target Audience

Designers, architects and students engaged in design and lovers of typography.

ENVIRONMENT|TYPOGRAPHY|ENVIRONMENT

The invention of audio-recording media in the late 19th and early 20th centuries, and the development of mass-media entertainment through radio, and eventually television, led to an explosion of creative songwriting that has scarcely abated to this day. From Tin Pan Alley to Abbey Road, from 78rpm to mp3, the lyricist’s art has informed and influenced contemporary culture at every level. Each decade of the 20th century has its share of iconic tunes and charismatic writers and performers – we want you to celebrate their art in typographic form.

The BriefInvestigate the lyrics of at least two songs selected from different decades of the 20th century. Take the opportunity to express the essence and spirit of your chosen songs in a typographic ‘tour de force’. You may wish to compare or contrast, consider period, context, locations, include biographical or historical sub-texts, or simply celebrate the emotions that are aroused by great words.

Think laterally, develop high quality research, intellectual rigour and well-considered typography. You may wish to consider the juxtaposition of your chosen pieces – do they have anything in common? Do they address similar issues/themes? Are they polar opposites? You decide! The possibilities are endless . . . .

A screen-based submission could be an interactive piece or an animated sequence – again you are encouraged to be innovative and exploratory. The use of sound, motion, interaction etc. offer many opportunities in

respect of the design, but do bear in mind that the submission should be typographic in essence and this requires careful consideration.

The challenge is to interpret the lyrics typographically. We would discourage overt use of imagery (eg photographs of performing artists) and suggest a subtle and sensitive approach to the inclusion of any illustrative content.

A list of artists to start you off: Noel Coward, Cole Porter, Irving Berlin, Stephen Sondheim, Lorenz Hart, Oscar Hammerstein, Woody Guthrie, Hank Williams, Bob Dylan, Paul McCartney, John Lennon, Marc Bolan, Joe Strummer, Joey Ramone, Madonna, M&M, Oasis, K T Tunstall, The Scissor Sisters, Coldplay, Black-Eyed Peas etc.

Target MarketDesign students, discerning designers, and music enthusiasts.





78rpm – mp3 . . . A celebration of popular song lyrics of the 20th century

THREE MINUTES

Two years ago we published a project titled 33.

It offered an opportunity for the broadest inter-pretation of this value. The responses ranged, in subject, from the full catalogue of cabinets (A–D) in the south-east corner of the St Bride Library Reading Room, the typography of a car, through to a study of a Sheffield public toilet (male) with a bonus 30 minute soundtrack of the toilets in use (interesting sensory experience).

The opportunities are similar with this very ‘open’ brief which, we hope, will foster a wide range of interpretations – What has happened? What can happen? What would you like to happen? Your shortest/longest kiss? How long you can hold your breath? The time it takes to get ready in the morning? The time it takes you to run 100 metres . . . The BriefThis is a brief for innovative thinking and one which can be fun. Our only proviso is that you do not select the lyrics of a song as that theme is used in Project 02.

Your only production parameter (for print submissions) is the use of a single A1 sheet. How you use the sheet is your choice. There are no limits on colours, material/stock, printing methods and binding/finishing methods. It could be a single broadsheet or could be used to develop a multi-sheet format.

Consider use of litho/screen print/folding/creasing/piercing/embossing/foil blocking/binding. You must also include a proposal for some method of packaging/mailing.

Alternatively, you may treat this through an interactive piece or an animated sequence. Either way, make it informative, eye-catching, fascinating, compelling – and suitable for the market.

Target MarketIdentify your ideal employer/client, on graduation, and impress them.





10 THINGS YOU SHOULD KNOW ABOUT . . .


The basis of this project could be the Dewey Decimal System with which you have become closely engaged during your study – we trust. However we are using its principle of classifica-tion of subjects into divisions and sub-divisions of ten rather than its application for organising your library.

We want you to consider the publication (through print and/or online) of a source of information on a series of subjects – not encyclopaedic – that will simultaneously inform and enthuse its users. The BriefYou are going to publish under the title 10 things you should know about . . . using one of the following 10 categories –

• Science • Sport • Hobbies/Crafts • Gardening• Famous battles • Games• Travel • Plays • Artists • Authors

Each category will have 10 different subject areas. For example Games could have explor-atory text about the rules, how to play and the tactics needed to be successful in Poker, Back-gammon, Bridge, Monopoly, Scrabble, etc. Hobbies could contain Stamp Collecting, Cake Decorating, Knitting, Train Spotting, Writing, etc.

Identify a subject area in your chosen category and design a publication containing 10 things people should know about it. This will be a prototype design for the publication of the series.

The size and format is at your discretion. It could be a broadsheet, folded leaflet,10 different cards, etc. The copy should be concise and

relevant to the understanding of the subject and must express the hierarchy of information.

In addition to your main piece, design two other covers in the category, plus a folder or container for point-of-sale and/or mailing. Similarly if you propose a partwork strategy, consider some-thing that will contain all 10 items within the category.

Alternatively, a web-based approach could use its inherent hierarchical structure to develop a resource that could even adopt a wiki approach for development – the choice is yours. However, the strategic and visual strengths of the proposal are our main focus – not programming.

Although the use of illustrative material is encouraged to, firstly, increase visual interest and, secondly, to make aspects of the facts easier to understand (particularly tactics or rules) the way typography is used to create an interesting visual publication should remain your main focus. Target MarketTeens onwards




TYPE FACTORY


The Type Factory is a new museum and gallery space being developed in a location of your choice. Offering an exciting resource and experience for designers, school-children and discerning tourists, its mission is simple: it aims to inform and enthuse its visitors about all aspects of type and to promote all things typographic. The factory will house a range of artefacts and displays that demonstrate the history of type and typographic design, while the gallery space will host temporary exhibitions of contemporary type design and typography and offer a venue for talks by some of the leading advocates of design as well as emerging talent.

The factory will also house a café and book-store which will encourage visitors to meet, share their thoughts and aspirations.

The BriefDesign a visual identity and range of promo-tional materials. You may use Type Factory as the name or create an alternative.

The identity must capture the essence of the experience that the visitor will have. You should express its use across an appropriate range of applications and show how it will work across media. Rather than specify the uses, we want you to consider the best range of uses – signage, web pages, display panels, ambient media . . . the choice is also an opportunity for an innovative approach to presentation.

Promotional material for print submissions should include a booklet that will be used to promote the venue. This should include treatments for cover, venue information page(s) and at least three spreads. Local outdoor advertising requires a poster – at least 4 sheet size (present a scaled-down version with images of its use in possible locations).

Screen-based submissions could be a website which would include the identity, appropriate information, examples of promotional events and merchandise and equate with the volume of print requirements.

Target MarketDesigners, school-children, tourists




istd2009type|layoutspecifInternational Society of Typographic Designers

ications1

Demonstrate your use of all typo/graphic elements in your layouts by detailing their use through annotated specifications. The diagrams below and on the following page give guidelines for possible methods of annotation.

Grids should detail all measurements of your document/screen grid – horizontal and vertical grid spacing (margins and gutters). The sample below shows the use of the baseline grid. This is not mandatory. Column/text block measures should be included.

Typo/graphic Specifications should detail your use of type/glyphs and other graphic elements. The main focus is your typographic treatment of texts – particularly the hierarchy of information. Consider, for instance, your

detailing for headlines; sub-heads; body text; cross-heads; standfirsts; call-outs; captions; headers; footers; folios; bullets; rules; fleurons and any other typographic devices that may be used. In all instances give the size, body/leading, weight and colour.

Media differentials will determine the appropriate information for your specifications. The list above relates to print-based matter. Your specifications for screen-based type should include the appropriate information and terminology for that medium.

Type and lettering used as illustrative matter need not be specified.

Paragraph3-line drop cap Foundry Sans Demicolour: 100% black

Body Text9pt Foundry Sans Normal12pt body/3pt leadingRanged Left57mm measure 3mm paragraph indentscolour: 100% black

Heading 136 pt Times Italic3 column measurecolour: 100% black

Caption8 pt Foundry Sans Italic10pt body/2pt leading colour: 100% black

Heading 29pt Foundry Sans Demi12pt body/3pt leadingcolour: 100% black

Running Headline6 pt Foundry Sans Normal colour: 100% black

Gutter4mm

Rule4pt x 3 columncolour: 50% black

Folio6 pt Foundry Sans Demicolour: 50% black

Head margin15mm

istd2009type|layoutspecifInternational Society of Typographic Designers

ications2

140px 140px 140px 140px 140px 140px

1

52

46

7

3

20px 20px 20px 20px 20px

1<img src=’’…guardian_logo.gif’’ />

2<h1>font-family: Georgia, serif;font-size: 24px;line height: 1.2em;font-weight: normal;colour: #005689;


4<h3>font-family: Georgia, serif;font-size: 14px;line height: 1.2em;font-weight: bold;colour: #005689;


6<p>font-family: Arial, sans-serif;font-size: 14px;line height: 1.2em;font-weight: normal;colour: #333;

7<p>font-family: Arial, sans-serif;font-size: 12px;line height: 1.3em;font-weight: normal;colour: #005689;

AnnotationThis illustration offers an alternative method of annotation to that on sheet #1 – in this case for specification of a screen-based submission.Either method is acceptable – clarity of information is the main criterion.

istd2009printspecifInternational Society of Typographic Designers

ications

This interactive form allows you to detail the processes and materials that would be required to commercially produce your proposals. For each item state –• finished dimensions • printing process(es) (litho/screen/ letterpress/gravure . . .)

• material/stock/papers, their manufacturer/ range/weight (materials should be identified and samples fixed to this sheet)• colour (process colour/spot colour and/or specials)• binding/finishing (case/perfect/saddle- stitched/laminating/embossing/etc.)

Click in the area you wish to enter information.On completion, print out, attach samples and include in your submission.

ITEM DESCRIPTION/SIZE PRODUCTION/MATERIAL SPECIFICATIONS SAMPLES (attach)

REGISTRATION NUMBER NAME PROJECT NUMBER

istd2009registrationform1International Society of Typographic Designers

University/College

Tutor Name

Address forpostal correspondence

Telephone (include code)

Fax (include code)

Email

Number of Registrations @£25/¤30 (Institutional Member *£20/¤24)

Postal payment by cheque

Purchase Order

Total Cost

Date

Credit Card payment by telephone: +44 (0)20 7436 0984

Send me an Invoice

Student NameProject

Number Print Screen

PAYMENT – Check One

REGISTRATION

ALL FORMS OF PAYMENT MUST BE COMPLETED IN FULL BEFORE THE ASSESSMENT FOR WHICH THE WORK IS SUBMITTED.

Use FORM2 for further Registrations if required

This form is available as a pdf form that can be completed and submitted online. Download from our website www.istd.org.uk

OR

Use as a template to complete thisFORM1 and FORM2(if required) and email to [email protected] using istd2009 + your institution nameas your subject line

OR

If posting please send Form(s) with Registration Payment to –ISTD 2009 Student Assessment PO Box 725Taunton ta2 8we

United Kingdom

An interactive pdf version is downloadable from www.istd.org.uk

istd2009registrationform2International Society of Typographic Designers

University/College

Tutor Name

Student NameProject

Number Print Screen

REGISTRATION Continuation

An interactive pdf version is downloadable from www.istd.org.uk

RETURN OF PORTFOLIO –CHECK ONE

POST COURIER

02 03 04 0501OTHER

PROJECT – CHECK ONE

SCREENPRINTMEDIA – CHECK ONE

NAME (IN CAPS) REGISTRATION NUMBER

SECURE THIS LABEL TO THE FRONT OF YOUR PORTFOLIO


POST COURIER

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