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J. L.

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Form 60 (Rule51(2) and (6)) No. S-085280

Vancouver Registry


ThumbnailCreativeGroupInc. and



Blu ConceDtInc. and

RichardP. Klingle(also known as Rik Klingle-Wattand Rik Klingle)



I, Judith L. Austin,also known by my marriedna#e Judith L. Kenzie,presentlya Creative

Director,GraphicDesignerand Advertising/Bra nding Gonsultant,of 568 KeeferStreet,
Vancouver,BritishColumbia,MAKEOATHAND SAYTHAT:

1. I am the Presidentof both of the PlaintiffsThumbnailCreativeGroupInc. ("Old

Thumbnaill')and ThumbnailBrandCorporation("New Thumbnail")in this
proceedingand as such have personalknowledgeof the matters and facts
hereinafterdeposedto, save where statedto be on informationand belief,and
where so statedI verily believethe same to be true.
2. I previouslypreparedand submittedAffidavit#1 in this action,dated October6,
3. As'statedelsewhere,but for clarificationin this Affidavit,the book that is referred
to in this action is Mastering Materials, Bindings & Finishes- The Art of Creative
Production("MasteringMaterialsbook") ISBN-13:978-1-59253-324-4and ISBN-
10: 1-59253-324-8publishedby RockportPublishers, Inc. in 2007, and whose
a u t h o ri s C a t h a r i n eF i s h e l .
4. Fuftherto paragraph6 in the Affidavit#1 of CatharineFisheldated November7,
2008 attachedas Exhibit# l I concludethat there is a secondauthor of the

p. 1 of 9
MasterihgMaterialsbook who has not receivedany attributionfor her work,
5. Furtherto paragraph6 in the Affidavit#1 of CatharineFisheldated November7,
2008, I concludethat there was correspondence betweenLisaCyr and the
defendantsBlu and Klingle,or perhapsbetweenRockportand the defendantsBlu
and Klingle,prior to Fishelstartingwork on the MasteringMaterialsbook. It is my
understanding that the contentand subjectmatter of this correspondence
copyrightinfringingand moral rights infringingmaterialsent from British
C o l u m b i ab y B l u a n d K l i n g l e .
6. I did not realizeuntil January2009, when I was arrangingfor registrationof
copyrightin the UnitedStateswith the UnitedStatesCopyrightOfficeof the work
shown on page 96 of the MasteringMaterialsbook, that this work is in fact a
work havingmultipleauthors,and thus multiplecopyrightowners,none of whom
have,to the best of my knowledge,assignedor transferredor licensedor waived
their copyrightor moral rightsto this work.
7. The work shownon page 96 of the MasteringMaterialsbook was submittedfor
registrationwith the UnitedStatesCopyrightOfficeon January30,2009 as Case
# L-L52572656.
8. The work shown on page96 of the MasteringMaterialsbook has the following
additionalauthorsand copyrightowners,which have not previouslybeen
(i) KevinHearn,member of the Canadianmusicalgroup BarenakedLadies,who
authoreda 1-pagestory that was includedin this work;
(ii) ChantalKreviazuk,Canadiansingerand songwriter,who authoreda 1-page
story that was includedin this work;
(iii) BryanAdams,CanadiansingerisongWriter, photographerand author,who
authoreda l-page story that was includedin this work;
(iv) JannArden,Canadiansingerand songwriter,who authoreda 1-pagesrory
that was includedin this work;
(v) SarahMcLachlan, Canadiansingerand songwriter,who authoreda l-page
story that was includedin this work;
(vi) Ernst H. Lieb,Presidentand CEOof Mercedes-Benz CanadaInc. at the time
this work was created,and currentlyPresidentand CEOof Mercedes-
BenzUSA,who authoreda 2-pagestory that was includedin this work;
(vii) Mercedes-Benz CanadaInc., as (presumed)employerof ErnstH. Lieb;
(viii) Dr. Victor Lino,Vice-President
Researchof BC CancerAgencyat the time
this work was created,who authoreda 2-pagestory that was included
in th is work;
(ix) B.C. CancerAgencv,as (presumed)employerof Dr. Victor Ling;
(x) ShaneBourbonnais,Presidentof ClearChannelEntertainmentCanadaat the
time this work was created,and currentlyPresidentof Talentat Live
NationInternationalMusic,who provideda 2-pagestory that was

- included
in thiswork;and
(xi) NettwerkProductions,
the Canadianmusic managementand production
companywho provideda compilationCD of 5 songsthat was included
in th is work,
9. I would like to further clarifythat the work shownon page 96 of the Mastering
Materialsbook has the followingattributionon the last of its 20 pages:"concept
+ d e s i g nt h u m b n a i l I creative g r o u p " . T h i sa t t r i b u t i o nc a n b e s e e n
in Exhibit#21 on my previousAffidavit# 1.
10. I believethat the work shownon page 96 of the MasteringMaterialsbook is not an
"industrialdesign",as per the CopyrightAct of Canada,section64 (1), sinceit is
not a designappliedto a usefularticle.This work consistsof a 20-pagebooklet
m e a s u r i n ga p p r o x i m a t e l2y9 c m ( 1 1 . 2 5i n c h e s )b y 1 5 c m ( 6 i n c h e s )b y 1 . 5 c m
containingstories,photographs,and a S-songcompilationCD, all bound in a
plush,purplevelvet cover embossedwith the logo of the B.C. CancerAgency.
11. I believethat the work shownon page44 of the MasteringMaterialsbook is
likewisenot an "industrialdesign",but rather a work of "visualart" where the
medium is a pieceof gyproccut down to the sizeof the art work and text. This
piecewas createdin 1999 as an invitationto a NanaimoshoppingcentreAnnual
GeneralMeeting.I do not considerit reasonableto say that such a pieceof
gyprocmeasuringapproximately28 cm (11 inches)by 28 cm by 1 cm, with each
piecebrokenand trimmed by hand, can be considereda usefularticlein the usual
senseof the word when it is a work of art that we createdin olaceof the usual
postcard-typeAGM invitation.
12. Klinglehas previouslyadmittedin documentdisclosuredated October9, 2008 to
sendingfalse and infringinginformationconcerningthe works shownon pages44
and 96 of the MasteringMaterialsbook. Copiesof these documents(entitled
"Grant of Rights")were obtainedfrom.his'solicitors
on October18, 2008 ano are
attachedas Exhibit# Z .lt can be seen on inspectionthat these Grant of Rights
documentswere sent by Klingleto Rockportdn May 18, 2006.
13. I note that in the "Grant of Rights"documentsprovidedby Klingleto the plaintiffs
are shownthe datesthat Klingledeclaresthese 2 works were createdby his
companyBlu ConceptInc.: "Piecewas createdin 1999" for the work eventually
shown on page44 of the MasteringMaterialsbook; and "Piecewas createdin
2OO2"for the work eventuallyshownon page 96 of the MasteringMaterialsbook.
I previouslyestablishedand documentedin my Affidavit#1 that Blu ConceptInc.
was not started by Klingleuntil August2003.
14. The "Grant of Rights"documentsreceivedby Rockportor by Cyr from Blu and
Klingleare attachedas Exhibit# -a Thesedocumentswere obtainedfrom
, Rockportas part of the Affidavitof TaraM. K. Connellydated November7, 2OO8.
I see that these Grantof Rightsdocumentsare signedby the defendantKlingle,
that they have been (incorrectly)changedby someonein handwritingfor no
apparentreason,and that they do not containall the pagesprovidedby Kiingleto
the plaintiffsin documentdisclosure.It appearsto me that they are incomplete.
15. The businessesthat are the subjectmatter of this actionare varied,and as such I
disagreewith Rockportand Fishelwho state that the subjectmatter of this action

is their-businessin writing and publishingthe MasteringMaterialsbook. One
businessin this actionis the businessof Rockportin writing and publishingthe
MasteringMaterialsbook, I agree.Anotheris the businessof Rockportin
marketingand sellingthe MasteringMaterialsbook. Anotheris the businessof
Fishel(and Cyr) in writing the MasteringMaterialsbook. Anotheris the business
of Blu and Klinglein marketingtheir services.Anotheris the businessof
ThumbnailCreativeGroup in creatingworks for their clients.Anotheris the
businessof suppliers,employeesand contractorsin helpingThumbnailCreative
Groupcreateworks.Anotheris the businessof ThumbnailBrandCorporationin
protectingits intellectualproperty.Anotheris the businessof numerousartistsin
16. I believethat only one of the businesses that are the subjectmatter of this action
is basedin Massachusetts and not in BritishColumbia- that of Rockoortwritino
a n d p u b l i s h i n tgh e M a s t e r i n g
s ook.
17. I believethat the businessof Rockportin marketingand sellingthe Mastering
Materialsbook is not carriedon in Massachusetts, but rather is carriedon
internationa lly, and is targetedat 3 primarycountries:the UnitedStates,the
UnitedKingdomand Canada.This assertionwas addressedin my previous
Affidavit#1 where I also providednumerousexhibitsshowingthat Rockporthas
targetedCanadawith the MasteringMaterialsbook and continuesto allow it to be
s o l di n C a n a d a .
18. The attachedExhibit# 4 is a copy of the back coverof the MasteringMaterials
book, showingthe priceof the book in US, UK and Canadiancurrencies.This is a
duplicateof Exhibit#9 in my Affidavit#1.
19. I believethat the businessof Fishelin writing booksand other articlesis also
carriedon internationally, and not simplyfrom her home officein Illinois.In
paragraph4 of Fishel'sAffidavit #1 dated .t),lovember
7, 2O0Bshe states "I do not
carry on any businessoutsideof my home officein IIlinois."howeverit is my
opinionthat this must be recognizedas a selfl-serving,misleading,and likely
intentionallynarrow interpretationof the meaningof"carrying on business".
20. I believethat use of the Internet by Fishelto collectsubmissions,and to promote
herselfand her works, doesfar more to extend her work and her influencethan
does her use of a telephone,and comparingthe telephoneto the Internet in this
regardshowsa profoundlack of understandingof the significance and impact of
the Internet in the conductof business.
21. There are numerouscasesin the UnitedStatesthat I have identifiedwhere
jurisdictionhas been decidedbasedon issuesof fact pertainingto Internet use.
Whetherthese casesare equallyrelevantin CanadaI do not know, but I submit
that they shouldbe if they are not. Specifically:PlayboyEnterprisesInc. v.
PublishingInc.; Compuserve,Inc. v. Patterson;MaritzInc. v.
CyberGold,Inc.; Pres-Kap,Inc. v. SystemOne DirectAccess;and Inset Systems
Inc. v. InstructionSet Inc. Theseare all caseswhere trademarkinfringementwas
found to be subjectto jurisdictionin a given forum basedsolelyon the
defendants'contacts with that forum via the Internet.
22. In the US caseof BensusanRestaurantCorp.v. King,the US court found that
jurisdictioncould not be establishedbecausethe defendantIin Missouri]had

done nothingto purposefullyavail himselfof the benefitsof the plaintiff,s
jurisdictionINew York]. Creatinga website,it was found, was like placinga
productinto the stream of commerce,and althoughit may be felt nationwide- or
even worldwide- without more, it was not an act purposefullydirectedtoward
the forum state. In this action,however,I believethere is little doubt that Blu,
Klingle,Rockport,and Fishelhave all conspiredto createa book containing
Canadian-createdand Canadian-owned materials,infringingboth copyrightand
moral rights of numerousCanadianentitiesand individuals,and this book is
purposefu lly directedtoward Canada.
23. In a similarvein, I speculatewhetherGooglecan be saidto carry on its businessin
Californiafor purposesof intellectualpropertyjurisdictionsinceCaliforniais
where it has its head officeand most of its employees?No, this is not the case,
and many companiesaroundthe world have taken legalactionagainstGooglein
their own jurisdiction,even with Google'sserversbeingphysicallylocatedin the
UnitedStates.I discoveredthat in 2005 and 2006, for example,both Louis
Vuittonand Le MeridienHotelsand Resortsboth won trademarkinfrinoement
casesagainstGooglein the Frenchcourts.
24. ThumbnailCreativeGroupInc. operatedfrom an officein Vancouverbut carriedon
businessinternationallyeven though we never physicallyleft Canadato carry on
this business.ln 20O2we createdand launcheda highlysuccessfulshopping
centrecampaignin the UnitedArab Emiratesand usedthe Internet for practically
all of our work and communications.
A telephonewould have been completely
unsuitablefor such a venturesincewe were requiredto exchangepicturesof our
work, and communicatewith the customerasynchronously due to a 12-hourtime
25. I also read that Fishelstatesin her Affidavit#1 dated November7, 2008 In
paragraph 3 that "f have worked as a writer and editor with a focus on graphic
design and illustration for more than 20 yeafs. I am a contributing editor to print
magazine, which is a leading graphic design magazine, and I am editor of the
website I am the authoroflclose to 20 books and hundreds of
articles on the subject of design. From time to time I am invited to speak at
graphic design conferences and occasionally I do so." Although this sounds
impressive,I believethat what she neglectsto mentionabout herselfis
considerable. Considerthe following:
(i) I see that the stateson its front pagethat it is
"the Internet'slargestdatabaseof logos..." and so cleariyis targetedat
an internationalaudienceof designersand companieslookingat logos,
over 100,000of which are availablefor viewingon their website.This is
attachedas Exhibit# 5
, (ii) I see that the websiteLogolounge.comhas as a primaryand prominent
purposethe marketingof the Logoloungeseriesof books,which list
Fisheland Bill Gardneras its two authors.Gardneris listedas the
founderof the Logolounge.comweb site.
(iii) I followeda link from the to the website
Amazon.comwhich allowedme the opportunityto purchasethe latest
Logolounge4 book. I then read the followingon Amazon.comabout

Fishel: "Catharine Fishel runs Catharine & Sons, a full-service editorial
company that specializes in working with designers and related
industries. Editor of Dynamic Graphics magazine, she frequently writes
for Step-by-Step Graphics, PRINT, DesignNet,and other trade
publications. 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 . I
believeit is unlikelythat Fishelconductsall this businessjust for
c u s t o m e r si n I l l i n o i s .
(iv) I discoveredthat the latest LogoLounge 4 book (not incidentallypublished
by Rockport,sincethey appearto be the worldwidepremierpublisherof
bookson the subjectof design)is titled "Logolounge4: 2000
InternationalIdentitiesby LeadingDesigners',which clearlyhas an
internationalfocus.The back cover of this book also liststhe book Drice
in US dollars,UK pounds,and Canadiandollars,so is clearlytargetedat
l e a s ti n p a r t a t C a n a d a .
(v) I discoveredthat the websiteLogolounge.comprovidesa "New User
Registration"page (a sampleof which is attachedas Exhibit# T )
which charges9100 USD per year for membership,in exchangefor the
opportunityto uploadunlimitedquantitiesof logos,and consideration
for publicationin the upcoming"The Best of Logolounge5" book to be
publishedby Rockport.This web site does not appearto me to be
simplya marketingtool for Fishel,but also a money making business
that attractsand chargesdesignersfrom aroundthe world.
(vi) I discoveredthat the Amazon.deGermanwebsitelists Logolounge2,
Logolounge3 and Logolounge4 editionsof these booksavailablewith
Fisheland Gardneras authors,that are fully translatedinto German,
which clearlyhas an international
focus beyondIllinois.
(vii) I discoveredthat Amazon.comalso statgsthe followingabout the
Logolounge 4 book: "The fourth Vdlumein the best-sellingLogoLounge
series provides 2,000 totally new logos from designers worldwide. This
book, like the previous titles in the series, is compiled in assaciation
with LogoLounge,com, a website that was launched by Bill Gardner in
2002. The site is dedicated to logos. Top designers and design firms are
hand picked and invited to be "foundation members." Foundation and
web site members each supply multiple logos to the site. Each
LogoLounge book presents thousands of new logos that have been
added to the site, providing designers with an invaluable source for
design inspiration and a resource for design solutions. The first portion
; of the book profiles 10 top designers recent work in the area of logo
design; the second part of the book contains almost 2,000 logos
organized by logo design (typography, people, mythology, nature,
sports, etc.)"
(viii) I discoveredthat DynamicGraphicsmagazineoperatesa websitein Illinois which also servesas a marketingservice
for Fishel'sbooks,which are listedas "RecommendedResources" in a
numberof articles,such as one attachedas Exhibit# I

(ix) I discoveredthat the web analyticswebsiteowned by
Amazon)lists as havinglessthan 30o/oof its visitors
from the UnitedStates,and as havinglessthan
50o/oof its visitorsfrom the US. This is shown in Exhibits# cl and
# to.

26. I cannotsee how anyonecan reasonablyassertthat Fisheldoes not carry on any

businessoutsideof her home office,even more so giventhe US precedentslisted
abovewhich legallybind businesses and individualsto the jurisdictionof their
end-usercustomersfor the purposesof intellectualpropertylaw.
27. I assertthat the allegedinfringingactionsin this caseare alsovaried.One such
infringementis the publicationof the MasteringMaterialsbook. Anotheris the
m isrepresentationby Blu and Klinglein sendingthe Grant of Rightsto Rockport.
Anotheris the distributionand sale of the MasterinoMaterialsbook into the
28. I would like to repeat,for emphasis,that the initialact of infringementof the
works shown on pages44 and 96 of the MasteringMaterialsbook was done in
Canada,by the defendantsBlu and Klingle,in their submissionto Rockporton the
Grant of Rightsforms. Even if these submissionshad not been publishedby
Rockport,this was still an act of infringementper section27 (l) of the Copyright
Act of Canada,which states"It is an infringementof copyrightfor any personto
do, without the consentof the owner of the copyright,anythingthat by this Act
only the owner of the copyrighthas the right to do."
29. I would like to repeatas well that I think it is clearand reasonablethat jurisdiction
for an infringingact that beginsin Canada(with Blu and Klinglesendingthe
Grant of Rightsdocuments),that involvesworks exclusivelycreatedin Canadaby
Canadians,that has a destinationfor the jnfringingact in Illinois(for Fishelto
improperlyuse in her writing),that is then transferredor copiedto Massachusetts
(for Rockportto improperlypublish),and Lhat is then sent back to Canada(for
distributionand sale) shouldbe in Canada,not in Massachusetts.
30. I think it is importantto point out that the defendantsKlingleand Blu have not
admittedto providingany photographsalong with the "crant of Rights"forms.
The works shown on pages44 and 96 of the MasteringMaterialsbook are
photographsof these works, and sinceKlingleand Blu have not admittedto
providingthese photographsthen it is likelythat Rockportor Cyr or Fisheltook
these photographsor alternativelyarrangedfor them to be taken.
31. On March2, 2009 a former customerof the plaintiffThumbnailCreativeGroup
advisedme in an email correspondence that the defendantKlinglehad recently
, cbunselledher to not give properattributionon her new web site for work done
by ThumbnailCreative.This customerasked me for my adviceand I explainedto
her that attributionwas requiredand would be appreciated.This counsellingby
Klingleto infringeon the plaintiff'smoral rights indicatescontinuingbad faith
behavioursinceat this point in time I think it would be difficultfor him to argue
ignorance of copyrightlaws.
32. The list of potentialwitnessesfrom BritishColumbiathat I think would be

reasondbleto'call in this action includethe following:
(i) Mary McNeil,former CEOof BC CancerFoundation,and current BC Liberal
party MLA.
(ii) BernadetteTyson,Chairof BC CancerFoundation's
Gala Unpluggedin 2002.
(iii) RandyBerswick,BruceAllen Entertainment.
(iv) Dan Fraser,NettwerkManagement.
(v) Eachof the 8 individualslistedaboveas authorsand copyrightownersof the
work shownon page 96 of the MasteringMaterialsbook.
(vi) Nola Dunn, former MarketingDirector,WoodgroveShoppingCentre.
(vii) ValerieTurnbull,graphicdesigner;and former contractorto Thumbnail
CreativeGroupIn c.
(viii) Rob Klingle,former contractorto ThumbnailCreativeGroupInc.
(ix) Representative
from GlenmorePrinting.
(x) Representative
from SpecialtyBinding.
(xi) Rik Klingle-Watt.
(xii) JenniferTaylorParavantes,
associateat Blu ConceptInc.
(xiii) Dann Illicic,Partnerat WOW Branding.
(xiv) FayeWilson,former employeeof both ThumbnailCreativeGroupInc. and
Blu ConceDtInc.
(xv) LindsayRankin,former employeeof both ThumbnailCreativeGroupInc. and
Blu ConceDtInc. .....,,
(xvi) PaulTownson,former productionco-ordinatorfor ThumbnailCreativeGroup
Inc. .. )
(xvii) Ann Robinson,bookkeeperfor ThumbnailCreativeGroupInc.
(xviii) BruceCharlish,CA, accountantfor ThumbnailCreativeGroupInc.
(xix) ChrisMeyer,corporatelawyerfor ThumbnailCreativeGroupInc. from 1989
- 2006.
(xx) John Rankin,businessconsultanthired by ThumbnailCreativeGroupInc. in
(xxi) LindaCoe,Vice President,Ethicsfor GraphicDesignersof Canada.
, (*xii) ClaireSykes,former customerof ThumbnailCreativeGroupInc.
33. The list of potentialwitnessesfrom outsideBritishColumbiathat I think would be
reasonableto call in this actionincludethe following:
(i) LisaCy[ originalauthor of the MasteringMaterialsbook.
(ii) CatharineFishel,author of the MasteringMaterialsbook.
(iii) Representative
from RockportPublishing.

D .8 o f 9
(iv) Rdpresentative
from QuartoGroup (owner of RockportPublishingand
possibleowner of QuayiidePublishingGroup).

Swornbeforeme in the C; +f I
of \ o- A\r\u$<,4 , in the provinceof )

on this Y!A )

day {.lNls 2009. )

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No. 5085280


Thurnbnail Creative Group Inc. and
Thumbnail Brend Corporltion

Blu ConcePtIno rnd
trltchard P. Klingle (alsolrnown rs Rik KlingleWatt and Rik KliDgle) rnd
RockPort Publlrherr, Ilc, and
Crtherine Fishel

Lirt of Iloeumentsofthe DefeDtlatrts,

Blu ConceptInc and Richerd P. Klingle
(rleo loown es Rik KlingleWatt aud Rik Klingle)


No. Drto

I MaylE, 1999 Drywali invitatioi rt:' |VoodgroveCeaoeAnnual General

Mcctiag |

MaylE,2006 Grantof Riglrtsfoim

ll r' I
2007 Book eilitled 'M{srering Materials,Bindings& Finishes",C.
t$nelil I
Undated BC ^CAJrier
*^ !
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Foundation -- ---r:-,^
with 1I

i 71hisr1s
tDep^aper writing refefied
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l. or their agentswritten in antioipationof

cotresponde[cebetweEnthe DefendEnts

2. in older to Essist
Notesandmemorandapreparedby theDefendantsor theil agedlts
counselin prepatationfor litigation;

3. betweeuthe Defendantsandtheir solicitorsmailein anticipationof


4. All not€s,mcmorandaandotherdocirmentspreparedby or on behalfofor at the request

ofthc Defetrdantsor tbeir aggntsor solioitorsin conternplationoflitigatiod;

5. on a,'withOutprcjudioe"basisbetwcenthe partiesandthoir solicitors.


TAKE NOTICE that the documentslisted iq Part I rnay be inspectedduring normal business
honrsat SingletouUrqutrart,7200- 925WestGeoryiaStree! Vancouvtr,BC V6C 3L2.


TO: TbePlainriffs

This List of Documentswas proparedby Mark C. Staceyof the ilrm Singl*on Uryuhalt LLP,
solisitor for the Defendants,rrrtoseplaceofbusinessandaddressfor deliveryis 1200- 925 West
GeorgiaSheet,Vancouver, BC V6C 3L2 (p!rone:(604)682.1474 e Fax:(604)682-1283)

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Product Details
Haldcoverz L92 pages
Publisher: Rockpoft Publishers(March 1, 2008)
language: English
ISBN-IO: 1592534007
ISBN- 13: 978- L592534005
Product Dimensions: 11.L x 9.2 x 1.2 inches
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Average Customer Review: (8 custoner reviews) Sales Rank #t27,0L9 in Books(See Bestsellersin Books)

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1 of 1 peoplefound the followingreview 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 different
logosand always helpsne find new solutionsfrom the inspirationsin the
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(Report this)

Inspirational!, February20, 2009

By imill - See all nrv reviews Ao-les9-u-qeK
I do a lot of logo designing,and I have to say that this book is great for
inspiration.AnytirneI want just an idea, I can pick this up, tum to a
Most Recent Customer Reviews
category, and look at other designseasy. This book also has a numberof
detailedreportsat the beginningthat explainsone popularbrandsand
the designerswho created them. It has their processand even what Good, nearly Great.
they did for inspiration.It's not only great for inspiration,but good for This continuesto be a "rnusthave"
thinking outside the box! Great series! refenencebook for designers.Well organized
it is a conprehensivesnap shot of
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(Report this)
P u b l i s h e d6 m o n t h s a g o b y J e r e m y B r i s t o l
Logo Lounge 4
Grcat bookseries!, Novenber 30, 2008 Like all other Logo lounge books. It's a
terrific book of reference.
By Isldol"BookAddict" (Honolulu,HI USA) - See all nv reviews Very well organized,infonnationaland
I have all the Logo Loungeseries1-4 and they are all great inspirational inspiring.Strongly reconrnendthis book,
books to give you excellent ideas. I like that the book has the narneof Published7 months ago by Eko W. Tjoek
the designerand the client'snane listedfor each logo. Well orgainized
catagories.Great logos too. A rrust buy!
okay but not fantastic
Comnnnt I PennalinkI Was this review helpfulto you? this book helpsgivingideasabout logos.
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this book is arbzing, opens your mind and
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Extrernelyinspiring...ata great price!

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ELECTRONIC How to turn heads with foll stamping, embossing, diecutting and other special LiquidTreat >
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by Michelle Taute
TYPE l{ay 2OOE
MANAGEMENT Print pieces have at least one distinct advantage over their digital counterparts: They
PAST ISSUES eventually end up in someone's hands. And for savvy designers, this tactile experience
represents an opportunity to stand apart from all the messages delivered on a computer
TUTORIALS screen. Whether ifs a foil-stamped logo or an embossed web address, special processes
Halftone Border are another way to help a typographic message grab people's attention. "It makes for a
Create a halftone border in more human, high-touch experience," says Tim Hartford, president of Hartford Design in
Photoshop. Chicago. "It will stop someone, and they'll take a moment to look at it."
Halftone Drop Shadow LET IT SHINE: Foil stamping and metallic ink
Add a halftone drop shadow When a foil stamp or metallic ink hits the light just right, it puts off a glimmer that makes it
using Photoshop. nearly impossible not to take a closer look. "It's a lot like a beautiful plate of food," says
Connie Hwang, principal of Connie Hwang Design in Gainesville, Fla. "You want to pick it up
DOWNLOADS and eat it." She used both techniques in a catalog design for a photography exhibition
called Jusf Suppose (figures 1 and 2). Since one of the featured photographers-Jerry
2 Free Image
Uelsmann-appears in almost every "history of photography" textbook, Hwang wanted to
Downloads with every
emphasize his importance in the field-starting with a silver foil-stamped title on the book's
cove r.
Free high-quality high
resolution photos. On the interior pages of the Just Suppose catalog, Hwang continued to convey the
importance of the featured photographers and their work using silver metallic ink that
matches the cover foil. "If I try to [take the perspective] of a regular reader, I think
anything you can't print from your home inkjet printer is special," she says. "Anything that
gives you an extra-special touch makes the [piece] more valuable to the reader."
n PartnerProgram In general, metallic ink keeps its shine better on coated stock than uncoated, but metallic
Phones ink also stands out well on a dark uncoated stock. If you're working with a new ink or
nline Education paper, it's probably wise to ask for an ink draw-down as a quick test.
Your Website
F o i l sc o m e i n a v a r i e t y o f c o l o r s a n d f i n i s h e d , . a n dy d u r . v d n d o r s h o u l d b e a b l e t o p r o v i d e
InsuranceQuote you with a swatchbook. Foils work well on a range of papers, but it's a good idea to ask
b Design your vendor how a particular paper and foil will work together. In fact, you may want to
icatedServers request a test with the actual foil and paper if you're unsu[e how they'll combine. When it
Universities comes to type, Hwang doesn't recommend going any'smafler.,than 10 pt., because the foil
Education may bleed through the details, such as the inner space in a lowercase a or e. Again, your
vendor should be able to help troubleshoot the design.

ltqi" tle p"per writing referred

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Onllne MBA llegrees

- Accounting Degrees
- f\lbrketingDegrees
- Six Signn Training

Figures 1 & 2
F o r t h i s e x h i b i t i o nc 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 cmh)o s e s i l v e r f o i l
s 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 ci n k i n s i d e . B o t h c o o r d i n a t ew i t h t h e w i r e - o b i n d i n g a n d
r e i n f o r c et h e q u a l i t y o f t h e p h o t o g r a p h y i n t h e s h o w .

Figures 3 & 4 TEMPLATES

This foil-stamped logo from Hartford Design ( is a nod to the
sleek stainless steel in the client's test kitchen. Desiggersphose a satin foil stamp over
shinier options to more accurately represent stainless'steel.


W h e n P r i n c i p l ec r e a t e d a n i d e n t i t y s y s t e m f o r p h o t o g r a p h e r J u l i e S o e f e r , t h e d e s i g n f i r m
needed to help the photographer look established so she could go after the high-end clients I n P e r s o no r o n l i n e
on her wish list. Ultimately, the design team settled on a blind emboss (without printing) as C l i c kh e r e t o s e e o t h e r
the driving element for the system (figure 5). "I think embossing-especially blind mediabistro events
embossing-creates a sense of quality," says Allyson Lack, a partner based in Principle's
Houston office. "When the card hits the hand, there's a tactile experience."

Embossing literally lifts up a word or design on the paper, while debossing does the exact
opposite- sinking the design into the paper. In this case, Lack applied embossing to the
photographer's website address, where people can find a full portfolio of the client's work.
"Whatever you're trying to make the hero, that's where you focus your embellishment,"
Lack says. To keep costs reasonable, the designers kept printing to one color and used the
same die to emboss the photographer's business card, letterhead and envelope. The raised
letters make this identity system feel artistic and classy, and when the light hits these
elevated areas, there's an intriguing shadow.

When you're working with embossing, it's crucial to ask plenty of questions. Will the vendor
.. ,,
provide a sculptured emboss? Or will it be a single or multilevel emboss? What about the
depth and width of the bevel? With type, it's important to adjust the kerning, so the letters
don't merge together due to the embossing. You want to achieve the same spacing as you
would with offset printing. Larger, simpler type-with clean lines-tends to be easier to
reproduce with this process.


Diecutting allows you to punch out shapes or letters and reveal the layer beneath-opening
u p t h e p o s s i b i l i t i e sf o r a l l k i n d s o f i n t e r e s t i n g i n t e r p l a y . F o r a h o l i d a y p r o m o t i o n , M S L K
created a series of custom bookmarks (figures 6 and 7). One piece in the series played off
the concept of Mad Libs. Rather than leave blank spaces to fill in the story, the design team
diecut square spaces where the words should go. This allows users to place the bookmark
over any page of text to create a humorous story.

The piece involved lots of small, precise cuts-so the holes wouldn't cut into adjacent text-
m/ dgm/ .../28872 2/s

3L/0s/2009 TypeThatStandsOut
and'theseneededto line up with storieson both sides of the bookmarks.After first looking
at the design,the firm's printer thoughtthe designteam had gone slightlycrazy, but
eventuallythe vendor warmed to the challenge."Printingis an art and not a science,"says
Sheri L. Koetting,a principalat MSLKin LongIsland City, N.Y."We look for printerswho
recognizethat and embrace that what they are making is art."
To work throughthis intricatedesign,the designteam made a mock-up by hand, which is a
good strategy to troubleshoot an intricate diecut. Ifs also important to realize diecutting
isn't necessarilyas preciseas you might like, often leavingbehind nicks or hangingchads
that may need to be removed with grindingor shaving.

Figure 5
Principle(r, chosea deep blind embossto add eleganceto this
identitysystem.Becausevre'reso familiarvSthtreb addresses,designerscut off the
b e g i n n i n ga n d e n d t o g i v e t h e p h o t o g r a p h e / sn a m e m o r e e m p h a s i s .
Figures 6 & 7
Intricate diecutsturn this two-sidedbookmark-from MSLK( a Mad
Lib when it's placedover a page of type. The snow day and beachthemes play off times
when peopleare most likely to read books.
THE ART OF IMPERFECTION:Letterpress and rubber stamping
While most specialprocessesadd tactility,a few-like letterpressand rubber stamping-
yield a hand-producedfeeling."Perfectionused to be difficultto achieve,but now it's easy,"
says Marc S. Levift of MSLK."Peoplearen't too impressedby perfection.They expect it.
The hand-touchedimperfectionis harder to come by." This can be a strategicchoicewhen
it alignswith a client'score message.
MSLKused the approachwhen working with a companycalledAgain that makes handbags
and accessoriesfrom reclaimedmaterials(figure 9). As the budgetwas tight, MSLKmade
Again'slogo and contactinfo into rubber stamps that can be appliedto recycledcardboard
for businesscards, as well as stock shippingtags. The resultsdeliberatelydon't look like
offset printing,but perfectlycommunicatethe artfulnessthat drives this particularbusiness.
"I think our approachto [a project] is that it shouldalwaysjust be one big idea," Koetting
says. "It shouldn'tbe a bunchof things layered on top of each other."

ml dgm/.../2887 2 3ls

3L/0s/2009 TypeThatStandsOut

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Figure 8
A h o l i d a y c a r d f r o m M S L Kt r a n s f o r m s i n t o a c a r d h o l d e r . I t ' s p r i n t e d o n d e n s e a n d s t u r d y
c h i p b o a r d , r v h i c hh e l p s t r a n s f o r m i t i n t o a 3 D o b j e c t a n d s u r v i v e s i x p a s s e s t h r o u g h t h e
letterpress(there are three colorson each side). The printing technique also adds a tactile
quality to the card.

Figure 9
Rubber stamping creates a handmade-and economical-solution for these tags and
business cards. MSLK designed a reusable SaTp for.the.tlient, and each applicationturns
out a little different than the next.

'; ) ,
Recommended resources
Mastering Materials, Bindings, and Finishes: The Art of Creative Production, by Catharine
Fishel, $40, Rockport Publishers,

Type Rules! : The Designer's Guide to Professional Typography, by Ilene Strizver, $50,

Type ldea Index: The Designer's Ultimate Tool for Choosing and Using Fonts Creatively, by
Jim Krause, $24.99, HOW Books,

Thinking in Type: The Practical Philosophy of Typography, by Alexander White, $24.95,

Allworth Press,

Special Effects 1O1

1. Imagine the piece without the special process

"I always say to my students,'Don't just be adding all these special techniques,"'observes
Connie Hwang, principal of Connie Hwang Design in Gainesville, Fla."If the piece wouldn't
be able to live without it, then maybe you need it."

2. Choose the right spot

Whether you opt for foil stamping, embossing or something else entirely, the special
process will become the focal point for your piece. "It will be where your eye is drawn,"
saysTim Hartford, presidentof Tim Hartford Design in Chicago. "You wantto be sure that's
where you want emphasis."

3. Talk to the printer early and often

"Even at the second round of design exploration, I already have my printer involved,"
Hwang says. A good printer can head off problems at the outset, letting you know if you've
blown the budget or if your font is too small for foil stamping.

4. Euild good relationships

Ideally, you and your vendors are on a first-name basis before you take a stab atyour
first print piece with a special process. "It's so important to use a supplier you trust,"
Hartford says. "If you don't know someone who does foil stamping, get referrals." Try 2
m/ dgm/.../2887 4/s

3t/05/2009 TypeThatStandsOut
asking around among printers and fellow graphic designers.

5. Don't sacrifice legibility

Legibility is "something really important not to get lost in the mix," says Sheri L. Koetting, a
principal at MSLK in Long Island City, N.Y."If you can't read the type, you're losing the
message." Even the fanciest diecut or emboss can't make up for a tagline that's impossible
to read.

6. Concept trumps flash

"I think the most interesting pieces are where the special technique works with the concept
of the piece," Hwang says. A metallic ink, for instance, should create a dialogue with the
piece-not work against it.
About the author
Michetle Taute is a freelance writer and editor in Cincinnati who specializes in design topics.


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