Form 60 (Rule 51(2) and (6))

J. L. Austin #2!^ e- z ,2OO9

No. S-085280

Vancouver Registry

IN THE SUPREME COURT OF BRITISH COLUMBIA

BETWEEN:

Thumbnail Creative Group Inc. andThumbnail Brand Corooration

PLAINTIFF(s)

AND:

Blu ConceDt Inc. andRichard P. Kl ingle (also known as Rik Kl ingle-Watt and Rik Kl ingle)

DEFENDANT(s)

AFFIDAVIT

I , Judith L. Austin, also known by my married na#e Judith L. Kenzie, presently a CreativeDirector, Graphic Designer and Advert ising/Bra nding Gonsultant, of 568 Keefer Street,Vancouver, Bri t ish Columbia, MAKE OATH AND SAY THAT:

1. I am the President of both of the Plaint i f fs Thumbnail Creative Group Inc. ("OldThumbnail l ' ) and Thumbnail Brand Corporation ("New Thumbnail") in thisproceeding and as such have personal knowledge of the matters and factshereinafter deposed to, save where stated to be on information and bel ief, andwhere so stated I veri ly bel ieve the same to be true.

2. I previously prepared and submitted Aff idavit #1 in this act ion, dated October 6,2008.

3. As'stated elsewhere, but for clari f icat ion in this Aff idavit , the book that is referredto in this action is Mastering Materials, Bindings & Finishes - The Art of CreativeProduction ("Mastering Materials book") ISBN-13: 978-1-59253-324-4 and ISBN-10: 1-59253-324-8 published by Rockport Publishers, Inc. in 2007, and whoseauthor i s Cathar ine F ishe l .

4. Fufther to paragraph 6 in the Aff idavit #1 of Catharine Fishel dated November 7,2008 attached as Exhibit # l I conclude that there is a second author of the

p. 1 of 9

Masterihg Materials book who has not received any attr ibution for her work,namely Lisa Cyr.

5. Further to paragraph 6 in the Aff idavit #1 of Catharine Fishel dated November 7,2008, I conclude that there was correspondence between Lisa Cyr and thedefendants Blu and Klingle, or perhaps between Rockport and the defendants Bluand Klingle, prior to Fishel start ing work on the Mastering Materials book. I t is myunderstanding that the content and subject matter of this correspondence wascopyright infr inging and moral r ights infr inging material sent from Brit ishCo lumbia by B lu and K l ing le .

6. I did not real ize unti l January 2009, when I was arranging for registrat ion ofcopyright in the United States with the United States Copyright Off ice of the workshown on page 96 of the Mastering Materials book, that this work is in fact awork having mult iple authors, and thus mult iple copyright owners, none of whomhave, to the best of my knowledge, assigned or transferred or l icensed or waivedtheir copyright or moral r ights to this work.

7. The work shown on page 96 of the Mastering Materials book was submitted forregistrat ion with the United States Copyright Off ice on January 30,2009 as Case# L-L52572656.

8. The work shown on page 96 of the Mastering Materials book has the fol lowingaddit ional authors and copyright owners, which have not previously beenidenti f ied:

( i) Kevin Hearn, member of the Canadian musical group Barenaked Ladies, whoauthored a 1-page story that was included in this work;

( i i ) Chantal Kreviazuk, Canadian singer and songwriter, who authored a 1-pagestory that was included in this work;

( i i i ) Bryan Adams, Canadian singeri songWriter, photographer and author, whoauthored a l-page story that was included in this work;

( iv) Jann Arden, Canadian singer and songwriter, who authored a 1-page srorythat was included in this work;

(v) Sarah McLachlan, Canadian singer and songwriter, who authored a l-pagestory that was included in this work;

(vi) Ernst H. Lieb, President and CEO of Mercedes-Benz Canada Inc. at the t imethis work was created, and currently President and CEO of Mercedes-Benz USA, who authored a 2-page story that was included in this work;

(vi i) Mercedes-Benz Canada Inc., as (presumed) employer of Ernst H. Lieb;

(vi i i ) Dr. Victor Lino, Vice-President Research of BC Cancer Agency at the t imethis work was created, who authored a 2-page story that was includedin th is work;

( ix) B.C. Cancer Agencv, as (presumed) employer of Dr. Victor Ling;

(x) Shane Bourbonnais, President of Clear Channel Entertainment Canada at thetime this work was created, and currently President of Talent at LiveNation International Music, who provided a 2-page story that was

p . 2 o f 9

- inc luded in th is work ; and

(xi) Nettwerk Productions, the Canadian music management and productioncompany who provided a compilat ion CD of 5 songs that was includedin th is work,

9. I would l ike to further clari fy that the work shown on page 96 of the MasteringMaterials book has the fol lowing attr ibution on the last of i ts 20 pages: "concept+ des ign thumbna i l I c rea t i ve g ro u p " . Th is a t t r i bu t ion can be seenin Exhibit #21 on my previous Aff idavit # 1.

10. I bel ieve that the work shown on page 96 of the Mastering Materials book is not an"industr ial design", as per the Copyright Act of Canada, section 64 (1), since i t isnot a design applied to a useful art icle. This work consists of a 20-page bookletmeasur ing approx imate ly 29 cm (11 .25 inches) by 15 cm (6 inches) by 1 .5 cmcontaining stories, photographs, and a S-song compilat ion CD, al l bound in aplush, purple velvet cover embossed with the logo of the B.C. Cancer Agency.

11. I bel ieve that the work shown on page 44 of the Mastering Materials book isl ikewise not an " industr ial design", but rather a work of "visual art" where themedium is a piece of gyproc cut down to the size of the art work and text. Thispiece was created in 1999 as an invitat ion to a Nanaimo shopping centre AnnualGeneral Meeting. I do not consider i t reasonable to say that such a piece ofgyproc measuring approximately 28 cm (11 inches) by 28 cm by 1 cm, with eachpiece broken and tr immed by hand, can be considered a useful art icle in the usualsense of the word when i t is a work of art that we created in olace of the usualpostcard-type AGM invitat ion.

12. Kl ingle has previously admitted in document disclosure dated October 9, 2008 tosending false and infr inging information concerning the works shown on pages 44and 96 of the Mastering Materials book. Copies of these documents (enti t led"Grant of Rights") were obtained from. his'sol ici tors on October 18, 2008 ano areattached as Exhibit # Z . l t can be seen on inspection that these Grant of Rightsdocuments were sent by Kl ingle to Rockport dn May 18, 2006.

13. I note that in the "Grant of Rights" documents provided by Kl ingle to the plaint i f fsare shown the dates that Kl ingle declares these 2 works were created by hiscompany Blu Concept Inc.: "Piece was created in 1999" for the work eventual lyshown on page 44 of the Mastering Materials book; and "Piece was created in2OO2" for the work eventual ly shown on page 96 of the Mastering Materials book.I previously establ ished and documented in my Aff idavit #1 that Blu Concept Inc.was not started by Kl ingle unti l August 2003.

14. The "Grant of Rights" documents received by Rockport or by Cyr from Blu andKlingle are attached as Exhibit # -a These documents were obtained from

, Rockport as part of the Aff idavit of Tara M. K. Connelly dated November 7, 2OO8.I see that these Grant of Rights documents are signed by the defendant Kl ingle,that they have been ( incorrectly) changed by someone in handwrit ing for noapparent reason, and that they do not contain al l the pages provided by Ki ingle tothe plaint i f fs in document disclosure. I t appears to me that they are incomplete.

15. The businesses that are the subject matter of this act ion are varied, and as such Idisagree with Rockport and Fishel who state that the subject matter of this act ion

p . 3 o f 9

is their-business in writ ing and publishing the Mastering Materials book. Onebusiness in this act ion is the business of Rockport in writ ing and publishing theMastering Materials book, I agree. Another is the business of Rockport inmarketing and sel l ing the Mastering Materials book. Another is the business ofFishel (and Cyr) in writ ing the Mastering Materials book. Another is the businessof Blu and Klingle in marketing their services. Another is the business ofThumbnail Creative Group in creating works for their cl ients. Another is thebusiness of suppliers, employees and contractors in helping Thumbnail CreativeGroup create works. Another is the business of Thumbnail Brand Corporation inprotecting i ts intel lectual property. Another is the business of numerous art ists increating works.

16. I bel ieve that only one of the businesses that are the subject matter of this act ionis based in Massachusetts and not in Bri t ish Columbia - that of Rockoort writ inoand pub l ish ing the Master ing Mater ia ls book .

17. I bel ieve that the business of Rockport in marketing and sel l ing the MasteringMaterials book is not carr ied on in Massachusetts, but rather is carr ied oninternationa l ly, and is targeted at 3 primary countr ies: the United States, theUnited Kingdom and Canada. This assert ion was addressed in my previousAff idavit #1 where I also provided numerous exhibits showing that Rockport hastargeted Canada with the Mastering Materials book and continues to al low it to beso ld in Canada.

18. The attached Exhibit # 4 is a copy of the back cover of the Mastering Materialsbook, showing the price of the book in US, UK and Canadian currencies. This is aduplicate of Exhibit #9 in my Aff idavit #1.

19. I bel ieve that the business of Fishel in writ ing books and other art icles is alsocarried on internation a l ly, and not simply from her home off ice in I l l inois. Inparagraph 4 of Fishel's Affidavit #1 dated .t),lovember 7, 2O0B she states "I do notcarry on any business outside of my home off ice in I I l inois." however i t is myopinion that this must be recognized as a self l-serving, misleading, and l ikelyintentional ly narrow interpretat ion of the meaning of"carrying on business".

20. I bel ieve that use of the Internet by Fishel to col lect submissions, and to promoteherself and her works, does far more to extend her work and her inf luence thandoes her use of a telephone, and comparing the telephone to the Internet in thisregard shows a profound lack of understanding of the signif icance and impact ofthe Internet in the conduct of business.

21. There are numerous cases in the United States that I have identi f ied wherejurisdict ion has been decided based on issues of fact pertaining to Internet use.Whether these cases are equally relevant in Canada I do not know, but I submitthat they should be i f they are not. Specif ical ly: Playboy Enterprises Inc. v.'Chuckleberry

Publishing Inc.; Compuserve, Inc. v. Patterson; Maritz Inc. v.CyberGold, Inc.; Pres-Kap, Inc. v. System One Direct Access; and Inset SystemsInc. v. Instruct ion Set Inc. These are al l cases where trademark infr ingement wasfound to be subject to jur isdict ion in a given forum based solely on thedefendants'contacts with that forum via the Internet.

22. In the US case of Bensusan Restaurant Corp. v. King, the US court found thatjurisdict ion could not be establ ished because the defendant I in Missouri] had

p . 4 o f 9

done nothing to purposeful ly avai l himself of the benefi ts of the plaint i f f ,sjurisdict ion INew York]. Creating a website, i t was found, was l ike placing aproduct into the stream of commerce, and although i t may be felt nationwide - oreven worldwide - without more, i t was not an act purposeful ly directed towardthe forum state. In this act ion, however, I bel ieve there is l i t t le doubt that Blu,Kl ingle, Rockport, and Fishel have al l conspired to create a book containingCa nad ia n -created and Canadian-owned materials, infr inging both copyright andmoral r ights of numerous Canadian enti t ies and individuals, and this book ispurposefu l ly directed toward Canada.

23. In a similar vein, I speculate whether Google can be said to carry on i ts business inCali fornia for purposes of intel lectual property jur isdict ion since Cali fornia iswhere i t has i ts head off ice and most of i ts employees? No, this is not the case,and many companies around the world have taken legal act ion against Google intheir own jurisdict ion, even with Google's servers being physical ly located in theUnited States. I discovered that in 2005 and 2006, for example, both LouisVuitton and Le Meridien Hotels and Resorts both won trademark infr inoementcases against Google in the French courts.

24. Thumbnail Creative Group Inc. operated from an off ice in Vancouver but carr ied onbusiness international ly even though we never physical ly left Canada to carry onthis business. ln 20O2 we created and launched a highly successful shoppingcentre campaign in the United Arab Emirates and used the Internet for practical lyal l of our work and communications. A telephone would have been completelyunsuitable for such a venture since we were required to exchange pictures of ourwork, and communicate with the customer asynchronously due to a 12-hour t imedifference.

25. I also read that Fishel states in her Aff idavit #1 dated November 7, 2008 Inparagraph 3 that "f have worked as a writer and editor with a focus on graphicdesign and illustration for more than 20 yeafs. I am a contributing editor to printmagazine, which is a leading graphic design magazine, and I am editor of thewebsite LogoLounge.com. I am the authoroflclose to 20 books and hundreds ofarticles on the subject of design. From time to time I am invited to speak atgraphic design conferences and occasionally I do so." Although this soundsimpressive, I bel ieve that what she neglects to mention about herself isconsiderable. Consider the fol lowing:

( i) I see that the website LogoLounge.com states on i ts front page that i t is"the Internet 's largest database of logos .. ." and so cleariy is targeted atan international audience of designers and companies looking at logos,over 100,000 of which are avai lable for viewing on their website. This isattached as Exhibit # 5

, ( i i ) I see that the website Logolounge.com has as a primary and prominentpurpose the marketing of the Logolounge series of books, which l istFishel and Bil l Gardner as i ts two authors. Gardner is l isted as thefounder of the Logolounge.com web site.

( i i i ) I fol lowed a l ink from the website LogoLounge.com to the websiteAmazon.com which al lowed me the opportunity to purchase the latestLogolounge 4 book. I then read the fol lowing on Amazon.com about

p . 5 o f 9

' Fishel: "Catharine Fishel runs Catharine & Sons, a full-service editorialcompany that specializes in working with designers and relatedindustries. Editor of Dynamic Graphics magazine, she frequently writesfor Step-by-Step Graphics, PRINT, DesignNet, and other tradepublications. She is the author of Paper Graphics, Minima! Graphics,Redesigning ldentity, The Peffect Package, and Designing for Children,and co-author of Logolounge. " This is attached as Exhibit # b . Ibel ieve i t is unl ikely that Fishel conducts al l this business just forcus tomers in I l l i no is .

( iv) I discovered that the latest LogoLounge 4 book (not incidental ly publ ishedby Rockport, since they appear to be the worldwide premier publ isher ofbooks on the subject of design) is t i t led "Logolounge 4: 2000International Identi t ies by Leading Designers', which clearly has aninternational focus. The back cover of this book also l ists the book Dricein US dol lars, UK pounds, and Canadian dol lars, so is clearly targeted atleas t in par t a t Canada.

(v) I discovered that the website Logolounge.com provides a "New UserRegistrat ion" page (a sample of which is attached as Exhibit # T )which charges 9100 USD per year for membership, in exchange for theopportunity to upload unl imited quanti t ies of logos, and considerationfor publ icat ion in the upcoming "The Best of Logolounge 5" book to bepublished by Rockport. This web site does not appear to me to besimply a marketing tool for Fishel, but also a money making businessthat attracts and charges designers from around the world.

(vi) I discovered that the Amazon.de German website l ists Logolounge 2,Logolounge 3 and Logolounge 4 edit ions of these books avai lable withFishel and Gardner as authors, that are ful ly translated into German,which clearly has an international focus beyond I l l inois.

(vi i) I discovered that Amazon.com also statgs the fol lowing about theLogolounge 4 book: "The fourth Vdlume in the best-selling LogoLoungeseries provides 2,000 totally new logos from designers worldwide. Thisbook, like the previous titles in the series, is compiled in assaciationwith LogoLounge,com, a website that was launched by Bill Gardner in2002. The site is dedicated to logos. Top designers and design firms arehand picked and invited to be "foundation members." Foundation andweb site members each supply multiple logos to the site. EachLogoLounge book presents thousands of new logos that have beenadded to the site, providing designers with an invaluable source fordesign inspiration and a resource for design solutions. The first portion

; of the book profiles 10 top designers recent work in the area of logodesign; the second part of the book contains almost 2,000 logosorganized by logo design (typography, people, mythology, nature,sports, etc.)"

(vi i i ) I discovered that Dynamic Graphics magazine operates a website in I l l inoiscal led dynamicgraphics.com which also serves as a marketing servicefor Fishel 's books, which are l isted as "Recommended Resources" in anumber of art icles, such as one attached as Exhibit # I

p . 6 o f 9

( ix) I discovered that the website alexa.com (a web analyt ics website owned byAmazon) l ists LogoLounge.com as having less than 30o/o of i ts visi torsfrom the United States, and dynamicgraphics.com as having less than50o/o of i ts visi tors from the US. This is shown in Exhibits # cl and# to .

26. I cannot see how anyone can reasonably assert that Fishel does not carry on anybusiness outside of her home off ice, even more so given the US precedents l istedabove which legal ly bind businesses and individuals to the jurisdict ion of theirend-user customers for the purposes of intel lectual property law.

27. I assert that the al leged infr inging actions in this case are also varied. One suchinfr ingement is the publication of the Mastering Materials book. Another is them isrepresentation by Blu and Klingle in sending the Grant of Rights to Rockport.Another is the distr ibution and sale of the Masterino Materials book into theCanadian market.

28. I would l ike to repeat, for emphasis, that the init ial act of infr ingement of theworks shown on pages 44 and 96 of the Mastering Materials book was done inCanada, by the defendants Blu and Klingle, in their submission to Rockport on theGrant of Rights forms. Even i f these submissions had not been published byRockport, this was st i l l an act of infr ingement per section 27 ( l) of the CopyrightAct of Canada, which states "It is an infr ingement of copyright for any person todo, without the consent of the owner of the copyright, anything that by this Actonly the owner of the copyright has the r ight to do."

29. I would l ike to repeat as well that I think i t is clear and reasonable that jur isdict ionfor an infr inging act that begins in Canada (with Blu and Klingle sending theGrant of Rights documents), that involves works exclusively created in Canada byCanadians, that has a destination for the jnfr inging act in I l l inois (for Fishel toimproperly use in her writ ing), that is then transferred or copied to Massachusetts(for Rockport to improperly publ ish), and Lhat is then sent back to Canada (fordistr ibution and sale) should be in Canada, not in Massachusetts.

30. I think i t is important to point out that the defendants Kl ingle and Blu have notadmitted to providing any photographs along with the "crant of Rights" forms.The works shown on pages 44 and 96 of the Mastering Materials book arephotographs of these works, and since Kl ingle and Blu have not admitted toproviding these photographs then i t is l ikely that Rockport or Cyr or Fishel tookthese photographs or alternatively arranged for them to be taken.

31. On March 2, 2009 a former customer of the plaint i f f Thumbnail Creative Groupadvised me in an email correspondence that the defendant Kl ingle had recently

, cbunselled her to not give proper attr ibution on her new web site for work doneby Thumbnail Creative. This customer asked me for my advice and I explained toher that attr ibution was required and would be appreciated. This counsell ing byKlingle to infr inge on the plaint i f f 's moral r ights indicates continuing bad faithbehaviour since at this point in t ime I think i t would be dif f icult for him to argueig nora nce of copyright laws.

32. The l ist of potential witnesses from Brit ish Columbia that I think would be

p . 7 o f 9

reasondble to'cal l in this act ion include the fol lowing:

( i) Mary McNeil , former CEO of BC Cancer Foundation, and current BC Liberalparty MLA.

(i i ) Bernadette Tyson, Chair of BC Cancer Foundation's Gala Unplugged in 2002.

( i i i ) Randy Berswick, Bruce Allen Entertainment.

( iv) Dan Fraser, Nettwerk Management.

(v) Each of the 8 individuals l isted above as authors and copyright owners of thework shown on page 96 of the Mastering Materials book.

(vi) Nola Dunn, former Marketing Director, Woodgrove Shopping Centre.

(vi i) Valerie Turnbull , graphic designer; and former contractor to ThumbnailCreative Group In c.

(vi i i ) Rob Klingle, former contractor to Thumbnail Creative Group Inc.

( ix) Representative from Glenmore Print ing.

(x) Representative from Specialty Binding.

(xi) Rik Kl ingle-Watt.

(xi i) Jennifer Taylor Paravantes, associate at Blu Concept Inc.

(xi i i ) Dann I l l ic ic, Partner at WOW Branding.

(xiv) Faye Wilson, former employee of both Thumbnail Creative Group Inc. andBlu ConceDt Inc.

(xv) Lindsay Rankin, former employee of both Thumbnail Creative Group Inc. andBlu ConceDt Inc. . . . . . , ,

(xvi) Paul Townson, former production co-ordinator for Thumbnail Creative GroupInc . . . )

(xvi i) Ann Robinson, bookkeeper for Thumbnail Creative Group Inc.

(xvi i i ) Bruce Charl ish, CA, accountant for Thumbnail Creative Group Inc.

(xix) Chris Meyer, corporate lawyer for Thumbnail Creative Group Inc. from 1989- 2006.

(xx) John Rankin, business consultant hired by Thumbnail Creative Group Inc. in2003.

(xxi) Linda Coe, Vice President, Ethics for Graphic Designers of Canada.

, (*xi i) Claire Sykes, former customer of Thumbnail Creative Group Inc.

33. The l ist of potential witnesses from outside Brit ish Columbia that I think would bereasonable to cal l in this act ion include the fol lowing:

( i) Lisa Cy[ original author of the Mastering Materials book.

( i i ) Catharine Fishel, author of the Mastering Materials book.

( i i i ) Representative from Rockport Publishing.

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( iv) Rdpresentative from Quarto Group (owner of Rockport Publishing andpossible owner of Quayi ide Publishing Group).

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No. 5085280Vancouver RegistrY

INTHE SUPREME COURT OF BRITISII COLIJMBIA

BetrrcEn:Thurnbnail Creative Group Inc. and

Thumbnail Brend Corporltion

PlaiutiffsAnd:

Blu ConcePt Ino rndtrltchard P. Klingle (also lrnown rs Rik KlingleWatt and Rik KliDgle) rnd

RockPort Publlrherr, Ilc, andCrtherine Fishel

Defendants

Lirt of Iloeuments ofthe DefeDtlatrts,Blu Concept Inc and Richerd P. Klingle

(rleo loown es Rik KlingleWatt aud Rik Klingle)

PART I. DOCI.JMENTS TO WHICH T}IERE ISNO OBJECTION TO PRODUCTION:

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May lE, 1999

May lE,2006

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Good, nearly Great.This continues to be a "rnust have"refenence book for designers. Well organizedit is a conprehensive snap shot ofrnainstream logo design. Read morcPubl ished 6 months ago by Jeremy Br is to l

Logo Lounge 4Like all other Logo lounge books. It's aterrific book of reference.Very well organized, infonnational andinspiring. Strongly reconrnend this book,Publ ished 7 months ago by Eko W. T joek

okay but not fantasticthis book helps giving ideas about logos.It gives good exenples, it explains the

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

Very llelptul, April 28, 2008

By J. Baftlett (Okinawa, Japan) - See all nv reviews

This book, like the other LogoLounge's, is very helpful. It shows differentlogos and always helps ne f ind new solut ions from the inspirat ions in thebook.

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Inspirational!, February 20, 2009

By imill - See all nrv reviews

I do a lot of logo designing, and I have to say that this book is great forinspirat ion. Anytirne I want just an idea, I can pick this up, tum to acategory, and look at other designs easy. This book also has a number ofdetai led reports at the beginning that explain sone popular brands andthe designers who created them. It has their process and even whatthey did for inspiration. It's not only great for inspiration, but good forthinking outside the box! Great series!

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Grcat bookseries!, Novenber 30, 2008

By Isldol"BookAddict" (Honolulu, HI USA) - See all nv reviewsI have al l the Logo Lounge series 1-4 and they are al l great inspirat ionalbooks to give you excellent ideas. I like that the book has the narne ofthe designer and the cl ient 's nane l isted for each logo. Well orgainizedcatagories. Great logos too. A rrust buy!

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, se€ all8 cuatom€r |!vles!... lta amazlngthis book is arbzing, opens your mind andyou can see the creativity and innovatlon inthe worldPubllsh.d I months ago by aurd Paulho

InspiringAs with previous editions, this bookcontinues to provide designers with superbreference for contemporary logo designs.

Extrernely inspiring...at a great price!Publ ished 14 months ago by S. Sa ley

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How to turn heads with fol l stamping, embossing, diecutt ing and other specialproc€ss€4.

by Michel le Taute

l{ay 2OOE

Print pieces have at least one dist inct advantage over their digital counterparts: Theyeventua l l y end up in someone 's hands . And fo r savvy des igners , th is tac t i le exper iencerepresents an opportunity to stand apart from al l the messages del ivered on a computerscreen. Whether i fs a foi l-stamped logo or an embossed web address, special processesare another way to help a typographic message grab people's attention. "I t makes for amore human, high-touch experience," says Tim Hartford, president of Hartford Design inCh icago. " I t w i l l s top someone, and they ' l l take a moment to look a t i t . "

LET IT SHINE: Foi l stamping and metal l ic inkWhen a foi l stamp or metal l ic ink hits the l ight just r ight, i t puts off a gl immer that makes i tnearly impossible not to take a closer look. "I t 's a lot l ike a beauti ful plate of food," saysConn ie Hwang, p r inc ipa l o f Conn ie Hwang Des ign in Ga inesv i l le , F la . "You want to p ick i t upand eat i t ." She used both techniques in a catalog design for a photography exhibit ioncal led Jusf Suppose (f igures 1 and 2). Since one of the featured photographers-JerryUelsmann-appears in almost every "history of photography" textbook, Hwang wanted toemphasize his importance in the f ield-start ing with a si lver foi l-stamped t i t le on the book'scove r.

On the interior pages of the Just Suppose catalog, Hwang continued to convey theimportance of the featured photographers and their work using si lver metal l ic ink thatmatches the cover foi l . " I f I try to [ take the perspective] of a regular reader, I thinkany th ing you can ' t p r in t f rom your home ink je t p r in te r i s spec ia l , " she says . "Any th ing tha tg ives you an ex t ra -spec ia l touch makes the [p iece ] more va luab le to the reader . "

In general, metal l ic ink keeps i ts shine better on coated stock than uncoated, but metal l icink also stands out well on a dark uncoated stock. I f you're working with a new ink orpaper, i t 's probably wise to ask for an ink draw-down as a quick test.

Fo i l s come in a var ie ty o f co lo rs and f in ished, .and ydur .vdndor shou ld be ab le to p rov ideyou with a swatchbook. Foi ls work well on a range of papers, but i t 's a good idea to askyour vendor how a part icular paper and foi l wi l l work together. In fact, you may want torequest a test with the actual foi l and paper i f you're unsu[e how they' l l combine. When itcomes to type, Hwang doesn't recommend going any'smafler., than 10 pt., because the foi lmay bleed through the detai ls, such as the inner space in a lowercase a or e. Again, yourvendor shou ld be ab le to he lp t roub leshoot the des ign .

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Figures 1 & 2F o r t h i s e x h i b i t i o n c a t a l o g , C o n n i e H w a n g ( v w v w c o n n i e h u a n g d e s i g n . c o m ) c h o s e s i l v e r f o i ls t a m p i n g f o r t h e c o v e r a n d m e t a l l i c i n k i n s i d e . B o t h c o o r d i n a t e w i t h t h e w i r e - o b i n d i n g a n dre in fo rce the qua l i t y o f the photography in the show.

F igures 3 & 4This foi l-stamped logo from Hartford Design (www.hartfordde5ign.com) is a nod to thes leek s ta in less s tee l in the c l ien t ' s tes t k i t chen. Des iggersphose a sa t in fo i l s tamp oversh in ie r op t ions to more accura te ly represent s ta in less 's tee l .

RAISING EXPECTATIONS: EmbossingWhen Pr inc ip le c rea ted an ident i t y sys tem fo r photographer Ju l ie Soefer , the des ign f i rmneeded to he lp the photographer look es tab l i shed so she cou ld go a f te r the h igh-end c l ien tson her w ish l i s t . U l t imate ly , the des ign team se t t led on a b l ind emboss (w i thout p r in t ing) asthe dr iv ing e lement fo r the sys tem ( f igure 5) . " I th ink emboss ing-espec ia l l y b l indemboss ing-c rea tes a sense o f qua l i t y , " says A l l yson Lack , a par tner based in Pr inc ip le 'sHouston o f f i ce . "When the card h i ts the hand, there 's a tac t i le exper ience. "

Emboss ing l i te ra l l y l i f t s up a word or des ign on the paper , wh i le deboss ing does the exac toppos i te - s ink ing the des ign in to the paper . In th is case, Lack app l ied emboss ing to thephotographer 's webs i te address , where peop le can f ind a fu l l por t fo l io o f the c l ien t ' s work ."Whatever you ' re t ry ing to make the hero , tha t ' s where you focus your embel l i shment , "Lack says . To keep cos ts reasonab le , the des igners kept p r in t ing to one co lo r and used thesame d ie to emboss the photographer 's bus iness card , le t te rhead and enve lope. The ra isedle t te rs make th is ident i t y sys tem fee l a r t i s t i c and c lassy , and when the l igh t h i ts thesee leva ted areas , there 's an in t r igu ing shadow.

, , When you ' re work ing w i th emboss ing , i t ' s c ruc ia l to ask p len ty o f ques t ions . Wi l l the vendor. . p rov ide a scu lp tu red emboss? Or w i l l i t be a s ing le o r mu l t i leve l emboss? What about the

depth and w id th o f the beve l? Wi th type , i t ' s impor tan t to ad jus t the kern ing , so the le t te rsdon ' t merge together due to the emboss ing . You want to ach ieve the same spac ing as youwou ld w i th o f fse t p r in t ing . Larger , s imp ler type-w i th c lean l ines- tends to be eas ie r toreproduce with this process.

WHAT LIES BENEATH: Diecutt ingDiecut t ing a l lows you to punch ou t shapes or le t te rs and revea l the layer beneath-open ingup the poss ib i l i t i es fo r a l l k inds o f in te res t ing in te rp lay . For a ho l iday promot ion , MSLKcreated a ser ies o f cus tom bookmarks ( f igures 6 and 7) . One p iece in the ser ies p layed o f fthe concept o f Mad L ibs . Rather than leave b lank spaces to f i l l i n the s to ry , the des ign teamdiecut square spaces where the words shou ld go . Th is a l lows users to p lace the bookmarkover any page o f tex t to c rea te a humorous s to ry .

The p iece invo lved lo ts o f smal l , p rec ise cu ts -so the ho les wou ldn ' t cu t in to ad jacent tex t -

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3L/0s/2009 Type That Stands Outand'these needed to line up with stories on both sides of the bookmarks. After first lookingat the design, the firm's printer thought the design team had gone slightly crazy, buteventually the vendor warmed to the challenge. "Printing is an art and not a science," saysSheri L. Koetting, a principal at MSLK in Long Island City, N.Y. "We look for printers whorecognize that and embrace that what they are making is art."

To work through this intricate design, the design team made a mock-up by hand, which is agood strategy to troubleshoot an intricate diecut. Ifs also important to realize diecuttingisn't necessarily as precise as you might l ike, often leaving behind nicks or hanging chadsthat may need to be removed with grinding or shaving.

Figure 5Principle (r,urnr.designbyprinciple.com) chose a deep blind emboss to add elegance to thisidentity system. Because vre're so familiar vSth treb addresses, designers cut off thebeginning and end to g ive the photographe/s name more emphasis.

Figures 6 & 7Intricate diecuts turn this two-sided bookmark-from MSLK (www.mslk.com)-into a MadLib when it 's placed over a page of type. The snow day and beach themes play off t imeswhen people are most l ikely to read books.

THE ART OF IMPERFECTION: Letterpress and rubber stampingWhile most special processes add tactil ity, a few-like letterpress and rubber stamping-yield a hand-produced feeling. "Perfection used to be difficult to achieve, but now it 's easy,"says Marc S. Levift of MSLK. "People aren't too impressed by perfection. They expect it.The hand-touched imperfection is harder to come by." This can be a strategic choice whenit aligns with a client's core message.

MSLK used the approach when working with a company called Again that makes handbagsand accessories from reclaimed materials (figure 9). As the budget was tight, MSLK madeAgain's logo and contact info into rubber stamps that can be applied to recycled cardboardfor business cards, as well as stock shipping tags. The results deliberately don't look likeoffset printing, but perfectly communicate the artfulness that drives this particular business."I think our approach to [a project] is that it should always just be one big idea," Koettingsays. "It shouldn't be a bunch of things layered on top of each other."

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Figure 8A ho l iday card f rom MSLK t rans forms in to a card ho lder . I t ' s p r in ted on dense and s tu rdych ipboard , rvh ich he lps t rans form i t in to a 3D ob jec t and surv ive s ix passes th rough thele t te rpress ( there are th ree co lo rs on each s ide) . The pr in t ing techn ique a lso adds a tac t i lequa l i t y to the card .

F igure 9Rubber s tamping c rea tes a handmade-and economica l -so lu t ion fo r these tags andbus iness cards . MSLK des igned a reusab le SaTp fo r . the . t l ien t , and each app l ica t ion tu rnsout a l i t t le dif ferent than the next.

SIDEBARS: ' ; ) ,Recommended resourcesMastering Materials, Bindings, and Finishes: The Art of Creative Production, by CatharineFishel, $40, Rockport Publishers, www.guaysidepublishinggroup.com

Type Rules! : The Designer's Guide to Professional Typography, by Ilene Strizver, $50,Wiley, www.wiley.com

Type ldea Index: The Designer's Ultimate Tool for Choosing and Using Fonts Creatively, byJim Krause, $24.99, HOW Books, www.f irubookstore.com

Thinking in Type: The Practical Philosophy of Typography, by Alexander White, $24.95,Al lworth Press, www.al lworth.com

Special Effects 1O1

1. Imagine the piece without the special process" I a lways say to my s tudents , 'Don ' t jus t be add ing a l l these spec ia l techn iques , " 'observesConn ie Hwang, p r inc ipa l o f Conn ie Hwang Des ign in Ga inesv i l le , F la . " I f the p iece wou ldn ' tbe ab le to l i ve w i thout i t , then maybe you need i t . "

2. Choose the r ight spotWhether you opt for foi l stamping, embossing or something else entirely, the specialp rocess w i l l become the foca l po in t fo r your p iece . " I t w i l l be where your eye is d rawn, "saysT im Har t fo rd , p res idento f T im Har t fo rd Des ign in Ch icago. "You want to be sure tha t ' swhere you want emphas is . "

3. Talk to the printer early and often"Even a t the second round o f des ign exp lo ra t ion , I a l ready have my pr in te r invo lved, "Hwang says. A good printer can head off problems at the outset, lett ing you know if you'veb lown the budget o r i f your fon t i s too smal l fo r fo i l s tamping .

4. Eui ld good relat ionshipsIdea l ly , you and your vendors a re on a f i rs t -name bas is be fore you take a s tab a tyourf irst print piece with a special process. "I t 's so important to use a supplier you trust,"Hartford says. "I f you don't know someone who does foi l stamping, get referrals." Try

4/s

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ask ing around among pr in te rs and fe l low graph ic des igners .

5 . Don ' t sacr i f i ce leg ib i l i t yLeg ib i l i t y i s "someth ing rea l l y impor tan t no t to ge t los t in the mix , " says Sher i L . Koet t ing , apr inc ipa l a t MSLK in Long Is land C i ty , N .Y. " I f you can ' t read the type , you ' re los ing themessage. " Even the fanc ies t d iecu t o r emboss can ' t make up fo r a tag l ine tha t ' s imposs ib leto read.

6 . Concept t rumps f lash" I th ink the most in te res t ing p ieces are where the spec ia l techn ique works w i th the concepto f the p iece , " Hwang says . A meta l l i c ink , fo r ins tance, shou ld c rea te a d ia logue w i th thep iece-not work aga ins t i t .

About the authorMichetle Taute is a freelance writer and editor in Cincinnati who specializes in design topics.

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t'lav 11 May 18Trai l ing 1 month [-]

Compare to: i

3t/0s/2009Logolounge.com traffic rank

52,344 Australia25,27L Austria124,086 Canada226,821 China57,817 Crerrnany27,677 lndia67,791 Italy52,397 Malaysia67,358 Nethedands15,586 Pakistan42,180 Poland22,820 Rornania56,623 Russia99,912 Spain35,7L4 Switzerland61,\ I7 Turkey15,669 Ukraine28,370 United Kingdom43,766 United States

Average Load Time for Logolounge.comVery Slow (9.336 Seconds), 96% of sites are hster.

logolounge.com - Traffic Details from ...

in other countries:

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01'/06/2009 dynamicaraphics.com - Traffic Details f...

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Where people go on Dynamicgraphics.com:

80. 5olo dynamicgraphics.com19.5o/o erna il. dynamicAraphics. com

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Dynamicaraphics.com users come from these countr ies:

45.8o/o United States16.7olo India4.9olo Canada4.7olo Sweden4,4olo Australia

More

Dynamicgraphics.comL21,024 Australiat34,579 Canadd152,454lndia389,554 Spain55,793 Sweden333,686 Uni ted Kingdomt34,490 Uni ted States

traffic rank in other countries:

Average Load Time for Dynamicgraphics.comVery Slow (4.532 Seconds), 88% of sites are fasrer.

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Alexa trafic rank fordynamicgraphics.com:

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Yeslerday

7 day avg

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296,266

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1 month avg 320,130

3 month avg 268,475

3 month change -82,759 +

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