#174 Convicted & Sentenced

#174 Convicted & Sentenced
Click image to view full size or download poster for gallery-​quality printing & framing.
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

Even a lifetime sentence cannot bring back a life that can no longer breathe

Sad­ly one life is lost which no amount of pun­ish­ment will bring back. 

Ulti­mate resti­tu­tion is not possible. 

Hope­ful­ly change occurs so that oth­er lives — lives that mat­ter — are spared in the future.

Concept & design

I cre­at­ed this piece in cel­e­bra­tion of the ver­dict: guilty on all three counts. The con­cept was a no-​brainer, though I felt guilty putting an inno­cent amper­sand behind bars. Don’t wor­ry, our friend will be out real soon for good behav­ior. (After all, the amper­sand nev­er argues “but” nor “or,” just brings every­thing togeth­er in harmony.)

My first choice was to put Com­ic Sans in jail, as that type­style is uni­ver­sal­ly loathed by design­ers around the world. (How­ev­er, I believe any ele­ment of design — shape, col­or, font — has its place if the sit­u­a­tion calls for it. I’ll use Com­ic Sans for some­thing atro­cious someday.)

But that car­toony font just didn’t look like it was tak­ing jail time seri­ous­ly. So I chose anoth­er font — one that I per­son­al­ly hate: Ari­al. It deserves incar­cer­a­tion. It is a rip-​off & abom­i­na­tion of a most beau­ti­ful type fam­i­ly, Hel­veti­ca. (Many peo­ple, includ­ing so-​called design­ers, say Hel­veti­ca is plain. Yes, it is plain & ele­gant & sophis­ti­cat­ed in the same way a superb work of min­i­mal­ist art is plain. Not appre­ci­at­ed by the mass­es, but revered by the con­nois­seurs.) So I put Ari­al, an appro­pri­ate­ly ugly font, behind bars, & hope it serves a life sentence.

Closing statement

The loss of life was trag­ic, the cause heinous. Pun­ish­ment will be served. Sad­ly, noth­ing will bring back a life that mat­tered, but hope­ful­ly the whole of it all will bring about change.

Black lives mat­ter. All lives matter.


Production notes for #174 Convicted & Sentenced:
Original size: 20x30 inches
Program: Adobe Photoshop
Fonts: Rockwell & Arial
Ampersand: Arial
Credits:
Cell illustration: Igor Stevanović, deposit​pho​tos​.com
Note: &” replaces “and” in most or all text, including quotations, headlines & titles.
You may repost the image & article. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster suitable for printing & framing, click on the image.

Visit DesimoneDesign.com

Chaz DeS­i­mone, design­er & typog­ra­ph­er, is the cre­ator of Amper­Art & own­er of Des­i­mone Design. He was adding ser­ifs to let­ters when he was just a lit­tle brat scrib­bling on walls. Now he’s a big brat & his entire career is design, so long as each project requires the most sophis­ti­cat­ed, log­i­cal, cap­ti­vat­ing results. Con­tact him at chaz@​desimonedesign.​com.

Thank you for sub­scrib­ing to Chaz’s per­son­al design project, Amper­Art. Men­tion you read all the way to the bot­tom here & receive a tru­ly incred­i­ble graph­ic design gift when you con­tact Chaz.


Chaz sez...
Want more?
Rants & raves mostly about design, sometimes about the universe.
An occasional bit of useful advice.
Read the blog:
des​i​monedesign​.com/​c​h​a​z​-​sez
Desimone Design
Desimone Design

#173 Neutrals & Pastels

#173 Neutrals & Pastels
Click image to view full size or download poster for gallery-​quality printing & framing.
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

The softer side of color

Amper­Art #173 Neu­trals & Pas­tels is all about the soft­er col­ors of the spec­trum. While neu­trals are often used for inte­ri­or wall & fur­ni­ture décor, as well as paper stock & car inte­ri­ors, pas­tels are fre­quent­ly used to cheer up a room & express soft­ness & joy. You’ll see pas­tel cars, too. & of course, since this is the March 2021 Amper­Art release, let’s not for­get pas­tel East­er eggs. Com­bin­ing the soft pas­tels & bril­liant hues of flow­ers reminds us of spring.

Neutrals: hue & tone

Neu­trals are col­ors that have just a hint of hue, or none at all. (I could say “just a hint of col­or” but actu­al­ly every­thing you see is a col­or.) Neu­trals range from pure black to pure white, & all the col­ors in between are basi­cal­ly gray with or with­out a lit­tle hue added.

Hue is pure red, yel­low, pur­ple, green, pink, cerulean, & so on; the pure col­ors on the col­or wheel.

Tone is what is done to those hues by adding var­i­ous amounts of gray (tint plus shade), whether dark, medi­um or light. This results in a mut­ed col­or. Mut­ed enough, it’s a neu­tral. In home décor, neu­trals most often refer to light vari­a­tions of white or gray; how­ev­er they can run the gamut of mid-​gray to char­coal. Neu­trals, in the realm of décor & design jar­gon, aren’t always exactl y neu­tral, though — they can have a slight tinge of hue, such as bluish gray or beige. Even white & black are neutrals

Tip: to achieve the col­or teal, which is not a pure hue nor a neu­tral, you sim­ply add gray to your choice of green­ish blue or blueish green. You’ll get a mut­ed blue or green, which is teal.

Pastels: hue & tint

Pas­tel col­ors are obtained by sim­ply tint­ing (adding white to) hues. The result­ing col­ors retain the puri­ty of the hues, just a lighter ver­sion. If black were also added that would tran­form the pas­tels into neutrals.

My own logo: neutrals & pastels

It just so hap­pens that logo for my graph­ic design stu­dio com­bines sil­ver, which is neu­tral, for the word “DESIMONE& pas­tels for the word “design” which, against a black back­ground, cre­ates a strik­ing contrast.

To wit: (Haven’t heard that term in a long time, have you…if ever?)

Speak­ing of logo design, there should always be a sol­id rea­son for every ele­ment, whether shape, type­style, or col­or, in a logo — even if the mean­ing is a per­son­al one, sig­nif­i­cant only to the busi­ness own­er. The tighter the logo is embraced by the CEO & staff, the stronger it will be val­ued, pro­mot­ed & rec­og­nized. In my design stu­dio logo, each pair of let­ters in the word “design” stands for a spe­cial time in my ear­ly life relat­ed to design. The turquoise & orange of “d” & “e” are the col­ors I used to paint a cork coast­er in 5th grade as a gift to my mom. Pur­ple & green graph­ics, sig­ni­fied by “s” & “i,” were used on posters for a haunt­ed house I put togeth­er while in junior high. The “g” & “n” orange & pink were the col­ors of the cof­fee shop, House of Pies, where I met & befriend­ed one of my design men­tors, Dave Cobb, in my late teens. Sil­ver, the col­or of the let­ter­ing for “DESIMONE,” holds a lot of sig­nif­i­cance: it’s my favorite metal­lic col­or being pure, untaint­ed with gold or cop­per hues, mod­ern & cool, & sim­ply neu­tral, encom­pass­ing all the col­ors mixed togeth­er. It also reminds me of mid-​century design, which I can’t get enough of. & the black back­ground? Besides pro­vid­ing a strik­ing con­trast for the neu­trals & pas­tels, black is my absolute favorite col­or. (As for the choice of typog­ra­phy, that’s a dif­fer­ent top­ic on which I’ll elab­o­rate when I release “Roman & Goth­ic” — this post is all about neu­trals & pastels.)


Production notes for #173 Neutrals & Pastels:
Original size: 20x30 inches
Program: Adobe Illustrator
Font: Helvetica
Ampersand: Helvetica
Credits:
Background: MalyDesigner/depositphotos.com
Note: &” replaces “and” in most or all text, including quotations, headlines & titles.
You may repost the image & article. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster suitable for printing & framing, click on the image.

Visit DesimoneDesign.com

Chaz DeS­i­mone, design­er & typog­ra­ph­er, is the cre­ator of Amper­Art & own­er of Des­i­mone Design. He was adding ser­ifs to let­ters when he was just a lit­tle brat scrib­bling on walls. Now he’s a big brat & his entire career is design, so long as each project requires the most sophis­ti­cat­ed, log­i­cal, cap­ti­vat­ing results. Con­tact him at chaz@​desimonedesign.​com.

Thank you for sub­scrib­ing to Chaz’s per­son­al design project, Amper­Art. Men­tion you read all the way to the bot­tom here & receive a tru­ly incred­i­ble graph­ic design gift when you con­tact Chaz.


Chaz sez...
Want more?
Rants & raves mostly about design, sometimes about the universe.
An occasional bit of useful advice.
Read the blog:
des​i​monedesign​.com/​c​h​a​z​-​sez
Desimone Design
Desimone Design

#171 By & Large

#171 By & Large
Click image to view full size or download poster for gallery-​quality printing & framing.
This is a high-​resolution pdf & may take a few minutes to download.
Find printing tips & framing ideas here.

How “by & large” sailed into the English language 

Many phras­es are incor­rect­ly assumed to be of nau­ti­cal ori­gin just because they sound like mariners’ lingo.

How­ev­er, “by & large” real­ly was a nau­ti­cal term which orig­i­nat­ed in the days of sail­ing ships.

Today the phrase “by & large” means
on the whole
gen­er­al­ly speak­ing
all things considered

But cen­turies ago “by & large” referred to sail­ing into the wind & off it, as explained below, mak­ing it eas­i­er to steer the ship. By the ear­ly 1700s the phrase had been broad­ened to mean
in one direc­tion & anoth­er
& even­tu­al­ly today’s most com­mon def­i­n­i­tion
in gen­er­al

Two separate terms, not one single phrase

The fol­low­ing ety­mol­o­gy of the phrase “by & large” is by Gary Mar­tin at his fas­ci­nat­ing web­site phras​es​.org​.uk:

To get a sense of the orig­i­nal mean­ing of the phrase we need to under­stand the nau­ti­cal terms ‘by’ & ‘large’. ‘Large’ is eas­i­er, so we’ll start there. When the wind is blow­ing from some com­pass point behind a ship’s direc­tion of trav­el then it is said to be ‘large’. Sailors have used this term for cen­turies; for exam­ple, this piece from Richard Hak­luyt’s The Prin­ci­pall Nav­i­ga­tions, Voiages, & Dis­cov­er­ies of the Eng­lish Nation, 1591:

When the wind came larg­er we waied anchor & set saile.”

When the wind is in that favourable ‘large’ direc­tion the largest square sails may be set & the ship is able to trav­el in what­ev­er down­wind direc­tion the cap­tain sees fit.

By’ is a rather more dif­fi­cult con­cept for land­lub­bers like me. In sim­pli­fied terms it means ‘in the gen­er­al direc­tion of’. Sailors would say that to be ‘by the wind’ is to face into the wind or with­in six com­pass points of it.

The ear­li­est known ref­er­ence to ‘by and large’ in print is from Samuel Sturmy, in The Mariners Mag­a­zine, 1669:

Thus you see the ship han­dled in fair weath­er & foul, by & learge.”

To sail ‘by & large’ required the abil­i­ty to sail not only as ear­li­er square-​rigged ships could do, that is, down­wind, but also against the wind. At first sight, & for many non-​sailors I’m sure sec­ond & third sight too, it seems impos­si­ble that a sail­ing ship could progress against the wind. They can though. The physics behind this is bet­ter left to oth­ers. Suf­fice it to say that it involves the use of tri­an­gu­lar sails, which act like aero­plane wings & pro­vide a force that drags the ship side­ways against the wind; by this tech­nique & by care­ful angling of the rud­der the ship can make progress towards the wind.

The 19th cen­tu­ry wind­jam­mers like Cut­ty Sark were able to main­tain progress ‘by & large’ even in bad wind con­di­tions by the use of many such aero­dy­nam­ic tri­an­gu­lar sails & large crews of able sea­men.
Copy­right © Gary Mar­tin | Con­tact Gary Martin


I am grate­ful to Gary Mar­tin for cre­at­ing phras​es​.org​.uk, the inter­net’s largest pub­lic resource for such mate­r­i­al. Not only does he define each phrase, but goes deep into its etymology. 

My father, Andrew DeS­i­mone, was fas­ci­nat­ed with words, since he immi­grat­ed from Sici­ly & want­ed to mas­ter the Eng­lish lan­guage (which he did with a slight Ital­ian accent). I remem­ber our huge red Web­ster’s dic­tio­nary — it must have been six inch­es thick & well-worn.

In fact, it was when Dad­dy sat me on his lap when I was maybe 4 or 5 years old, & point­ed out the words in a book, that I took an inter­est in words, too. How­ev­er, I was more fas­ci­nat­ed in the let­ter­forms, & that’s what start­ed my let­ter­ing, typog­ra­phy & graph­ic design career. Here’s a sto­ry about that.


Production notes for #171 By & Large:
Original size: 20x30 inches
Program: Adobe Photoshop
Ampersand: Goudy Oldstyle (altered)
Credits:
Photo: Iurii, deposit​pho​to​.com
Facts: phras​es​.org​.uk—interesting bio of author Gary Martin

Note: &” replaces “and” in most or all text, including quotations, headlines & titles.
You may repost the image & article. Please credit Amper​Art​.com.
To download a full-​size high-​resolution 11x17-​inch poster suitable for printing & framing, click on the image.

Visit DesimoneDesign.com

Chaz DeS­i­mone, design­er & typog­ra­ph­er, is the cre­ator of Amper­Art & own­er of Des­i­mone Design. He was adding ser­ifs to let­ters when he was just a lit­tle brat scrib­bling on walls. Now he’s a big brat & his entire career is design, so long as each project requires the most sophis­ti­cat­ed, log­i­cal, cap­ti­vat­ing results. Con­tact him at chaz@​desimonedesign.​com.

Thank you for sub­scrib­ing to Chaz’s per­son­al design project, Amper­Art. Men­tion you read all the way to the bot­tom here & receive a tru­ly incred­i­ble graph­ic design gift when you con­tact Chaz.


Chaz sez...
Want more?
Rants & raves mostly about design, sometimes about the universe.
An occasional bit of useful advice.
Read the blog:
des​i​monedesign​.com/​c​h​a​z​-​sez
Desimone Design
Desimone Design