photo by Ben Gebo   more photosWe hope you had a chance to join us on May 24th for the Designing with Web Fonts panel discussion in Cambridge. If not, we hope to see you next time! In the meantime, here are some discussion highlights and resources that were shared.

We kicked off the discussion with a keynote introduction from our moderator, Sam Berlow
http://www.fontbureau.com/people/SamBerlow/

How we got here is long and complex tale...
http://www.alistapart.com/articles/cssatten/
Suffice to say, the options for designers are nearly limitless: 10's of thousands of typefaces available for web use...are all of them good? That is your job...
http://typekit.com/tour/library
http://fontdeck.com/typefaces

Why Web fonts?
The promise of Web fonts was that it would allow seamless branding from print to web, save time and money by reducing the production time, and enable search engine optimization because all of he text on your sites would be live.
http://www.fontslive.com/info/web-fonts.aspx

Getting fonts to work on a website requires the following: specific font formats for specific browsers and bulletproof CSS to tell the browser to display the correct font in the users browser.
http://www.extensis.com/en/WebINK/how/index.jsp;jsessionid=5EFTDAETEJUDHLAQAAUARSQ

There are two ways to get Web fonts
1. Pay a service to deliver the data, or
2. Deliver the data yourself
http://www.miltonbayer.com/font-face/
(beware of delivering data yourself, you need rights and delivering print fonts may not have the same quality as a web font)

How do these subscription services work? Subscription and Self-hosting:
http://www.extensis.com/en/WebINK/how/index.jsp
http://typekit.com/
http://fontdeck.com/
http://webfonts.fonts.com/
http://www.webtype.com/
http://www.extensis.com/en/WebINK/

Subscription: Sign up, Choose a pricing tier base don your usage needs, assign the font to a URL it will be used for, pay, copy and paste the CSS into your site code, the fonts are live
The service will send the appropriate font file to the user accessing the url you have specified

OR

Self Host: You serve the font file to user accessing the url you have specified, by placing the fonts on your own server and serving the data yourself.
http://webfonts.myfonts.com/
http://www.fontsquirrel.com/
http://www.miltonbayer.com/font-face/

Advantages to both:
Subscription services are constantly adjusting delivery as browsers and data improves. Pay every year.
Self host, there is a one time payment, but you need to keep up with the technology and adjust code/data as both are upgraded.

Pricing Information:
Font Licence Calculator: Get a real time quote for typeface licensing
http://www.typotheque.com/licensing/price_calculator
Typekit https://typekit.com/plans
Fontdeck http://fontdeck.com/about/pricing
WebINK http://www.extensis.com/en/WebINK/pricing/index.jsp;jsessionid=WM5VPK4YOCSOVLAQAAUARSQ
Fonts.com (Monotype Imaging) https://webfonts.fonts.com/en-US/Subscription/SelectSubscription
Webtype (Font Bureau) http://www.webtype.com/info/advantage/

Compatibility:
Here is an overview of the options and their compatibility:
Web font hosting services - An Overview - by sprungmarker.de

A couple of Myths I would like to debunk:

1. You can only use one of these services or methods.
Not true. Here is sample of a website using two services and serving files them selves all on the same page. http://getsatisfaction.com/

2. Web fonts do not work on windows.
Not true. But make sure you test
That was simple right?
Here is how I recommend navigating this labyrinth:

Sign up for all of the free trials play with the different services.
https://browserlab.adobe.com/en-us/index.html

In general, what to look for:

1. Quality
don't buy anything for the web until you have tested it in the browsers you or your users will be---using. Mac, windows, and devices
https://browserlab.adobe.com/en-us/index.html

2. Legal
Find out who owns the data
Serving data illegally puts your client and you in a legally compromised position.
Font Squirrel is a great service for converting print fonts to webfonts, but
do not take fonts and convert them unless you have permission. We will find you...
http://www.fontsquirrel.com/

3. Budget
Check the pricing carefully
Pageviews, GB, time...

I want to reiterate number one. If you are developing for a client, Check their Google Analytics carefully to see what browsers and platforms the users are coming from. If your analytics say Windows XP and Internet Explorer, test the site in that exact environment.

Examples of others who have begun to take advantage of display and text capabilities of web fonts:
http://spymuseum.org/
http://reesenews.org/
http://www.webfontawards.com/gallery
http://typographica.org/

The real future is implementing Web fonts into responsive web design and dynamically adjusting typography to page size.
http://demo.nomadeditions.com/real-eats/toc.html
http://treesaver.net/

In conclusion
If you have not jumped in, jump in, it is free and easy to get started.
Make sure you test in users environments
Make sure you use fonts at the sizes they have been recommended for.
This an exciting time to be developing web sites
Good luck to you all.
- Sam Berlow

A big thank you also to our panelists, from L to R from audience:

Scott Dasse / Creative Director, Boston University Interactive Design
http://www.bu.edu/interactive-design/our-work/
Mike Swartz / Creative Director, Upstatement
http://upstatement.com
David Berlow / president, Font Bureau; partner Webtype, Ready-Media
http://www.fontbureau.com/people/DavidBerlow/
Vladimir Levantovsky / Sr. Tech Strategist at Monotype Imaging & W3C
http://www.monotypeimaging.com/

We're going to continue this topic into some hands-on workshops in our Fall/Winter season, so let us know what, specifically, you'd like to learn. No questions are too basic or too complex, so ask away! We'll also send out an informal survey to you all to find out what you'd like to get out of the workshop.

Jodi Vautrin serves as Vice President of Programming and Director of Emerging Ideas on the board of AIGA Boston. Contact her at:

"It's not what you look at that matters, It's what you see."
—HERBERT MATTER

photo: Ben GeboAfter arriving at swissnex Boston | Consulate of Switzerland, for the screening of The Visual Language of Herbert Matter, I was pleasantly greeted by welcoming hosts and a wonderful crowd of people mingling, sipping drinks, and enjoying finger food—a stark contrast to the pouring rain outside. There seemed to be a nice balance of old and young, with familiar faces as well as some new ones. I made my way to a seat and shortly thereafter the event began—first a few announcements, and then a brief introduction to the film by its creator, Reto Caduff.

The title sequence was enticing, well-produced, and served as a good lead-in to the film's opening—the director speaking over grand views of the Swiss mountains. I loved the analogy: comparing the expansive mountains to what may have inspired Herbert Matter's work.

The film was a carefully crafted blend of information and entertainment that seemed to always keep pace with one's attention. As a designer, I was happy that the work was displayed long enough to digest, but not so long that it would bore non-designers. The movie progresses as a chronological walk-through, following threads of Matter's life, work, friends, and family, along with major historical milestones in art and culture. There were brief moments of laughter, and sad ones as well, but what impressed me the most was the breadth of his work, as well as the large scope of work that was researched and presented in the film.

Prior to this screening, I had only heard of Herbert Matter through design history books, in a passing note about a poster or photogram. Now, I can easily say he is one of my favorite designers from that generation. A Google search for "Herbert Matter" turns up relatively little compared to the enormous amount of work in the film. But it's not the amount of work that impressed me. It was the way in which Matter was an ambassador between art, photography, and graphic design.

Herbert Matter was successful in what seemed like every creative field, and as Jessica Helfand noted in the film: "For someone like Herbert Matter, to have commercial success not just in one but in several professions is truly unique to this day." He was experimenting with photography using a graphic designer's eye. He was making films with Alexander Calder and Philip Glass. He assisted under A.M. Cassandre and Le Corbusier. He was friends with Jackson Pollock and Alberto Giacometti. He designed magazine covers for Alexey Brodovitch and Alexander Liberman. He photographed and designed catalogues for Charles and Ray Eames. He created a visual language for Knoll and the New Haven Railroad. He designed and created an installation for the 1939 World's Fair. He taught at Yale alongside Paul Rand. As the film kept going, I was continually amazed by how much work he had done with such a wide range of people.

Afterward, we were able to pick the brain of Reto Caduff about the process of making the film, meeting all of the people interviewed, and the many hours of working in design archives. It was great to have someone so intimately involved with the film there to give us some background or to add a short story that didn't make it into the film.

For me, this is a movie I will watch over and over, and enjoy every time.

Many thanks are in order to swissnex Boston | Consulate of Switzerland, Reto Caduff, and AIGA Boston for presenting the film.

Matt Budelman is a graphic designer and serves on the board of AIGA Boston.

So, you'd have to be living under a rock to not know that the Royal Wedding is this Friday. I haven't received my invitation yet, but you know how the U.S. post office can be. I am sure my invite is just held up in some version of customs for the mail.

While I am waiting for my invite to arrive, I can't help but be sucked into the business of the wedding. It is expected to be one of the year's most watched events, with some estimating the viewership to reach over two billion people. Every news and TV station this side of the pond is reporting nightly – it is estimated that the wedding is getting mentioned every 10 seconds.

We all know that the last time we had a wedding with this magnitude was for Charles and Diana. However, this time, it will be different. Technology is changing the way the royal occasion is viewed around the world. We are living in an age of social media and the Royals are all over it. Palace officials have said that there will be a live blog and integrated Twitter feeds. The wedding has its own official website and Facebook page, laying out every detail down to the second. It will be streamed live on YouTube. Want to scope out the official royal procession? Google has created a 3D route tour so you can see where the couple will be. There is an official map, an official program, an official this and that.

You also can't help but notice the element of branding surrounding the wedding. Successful branding is essential to the success of any business, and let's face it, the Royal Wedding is proven to be big business. It seems that every major news outlet has designed a unique logo and slogan for the big event. The Huffington Post's tagline is "The Royal Wedding ...Some News is so Big it Needs its Own Page." ABC has created a blog page with a logo showing Big Ben and the words "William and Catherine: The Royal Wedding" in a typeface that is decidedly modern. CBS opted to go the more traditional route, using a script typeface in gold with a crown strategically placed over the word Royal. There's even a logo for "The Countdown".

Is this much ado about nothing? Perhaps, and if you are sick of the shenanigans, don't worry. Lydia Leith, a British graphic designer, has created the unofficial Royal Wedding Sick Bags, just in case you can't take one more article or news mention on the subject.

Kathleen Byrnes can be reached at or .

A couple of weeks ago, I made my way down to New York City to attend the AIGA Bright Lights event. Previously known as the Design Legends Gala, the newly renamed Bright Lights preserves the legacies of designers who have led the way in defining the profession. It was an evening for not only recognizing and celebrating achievements, but for helping AIGA raise funds to continue preserving the heritage of design though its archives and to support the next generation of designers.

A who's who of graphic design gathered to celebrate those whose creativity, innovation, and brilliance have defined the design profession. Jennifer Morla, Steve Frykholm, and John Maeda were honored with the AIGA Medal, and Method and Tiffany & Co. received the AIGA Corporate Leadership Award. Morla was acknowledged for her poignant designs and her ability to refocus the way we see the familiar. Frykholm was recognized for his 40-year career at Herman Miller and for establishing the highest standards of corporate design. Maeda was honored for pushing the boundaries of design into new realms and for bringing digital technology into art education.

When I was in art school, I pored over the works of Paula Scher, Milton Glaser, Massimo Vignelli, Herbert Bayer, and Bradbury Thompson, to name a few. I engrossed myself in their designs, trying to gain knowledge from their visual dialogue. I was motivated by their creativity. I can't image where I'd be today without the inspiration of so many talented designers.

At Bright Lights, I found myself in the same room with many of these legends. I for one am glad to live in a world where there are designers who inspire me and elevate me to maintain a commitment to excellence. Some may criticize Bright Lights for being self-congratulatory and perhaps even frivolous, but it wasn't to me. I think it is important that we recognize and support the achievements of our fellow designers. I found it humbling.

Design has the power to affect the world, and there are many examples of strong design being executed today. Bright Lights celebrated the achievements of not only three individuals and two corporations, but of all the designers out there willing to push the expected into new arenas and uphold good design as essential to their success.

Kathleen Byrnes can be reached at or .

Milton Glaser is as much of an intelligent and articulate artist as he is a person. He has spent a lifetime creating art that informs and delights and, if possible, art that can even effect positive social change. We all know Milton Glaser for his ingenious work, but for the eleven AIGA members from Boston who had the opportunity to sit down with him one day last November, we got to know Milton not only as a brilliant artist but the mentor, the teacher, and the thinker that makes Milton Glaser, well, Milton Glaser.

We entered his studio expecting a tour, but instead sat in his conference room for well over an hour engaging in conversation. Yes, that's right – a one-on-one conversation with Milton Glaser. You could hear a pin drop in the room when he spoke. The thing that struck me the most was his modesty and nurturing spirit. He wasn't as interested in telling us about himself and his accomplishments as he was in learning about us as designers and as people. This is the man who designed some of the most famous posters and logos in the world (not to mention receiving the National Medal of Arts, presented to him by President Obama), and he just wanted to know about us, who we were, what we were up to.

We got a glimpse of the personal side of Milton Glaser. He is known for his directness, simplicity, and originality. He is a teacher, philosopher, and thinker. He enlightened us with such wisdom as "Anything one believes too deeply becomes an impediment to one's understanding", "Clarity precedes creativity", and "Aspiration transforms everything". We had the privilege of his generosity in sharing his time and knowledge with us. He enriched our visit to New York City.

Who better to inform and delight than Milton Glaser?

Don't miss out on opportunities like this in the future! Become an AIGA member today.

"It is far better to grasp the Universe as it really is than to persist in delusion, however satisfying and reassuring."
--Dr. Carl Sagan

I recently came across this quote, and it struck a chord with me. As much as I was satisfied in my own delusion of having a portfolio that was complete and current, it was definitely not. I think portfolios, like the Universe, are large, cumbersome, ever-expanding, and without them we wouldn't have a past or future.

The creative portfolio can be a constant source of questioning and frustration. At first, it is an exciting new adventure--designers toil away with X-Acto knives, books on creative packaging, midnight trips to the copy shop, and constant tinkering. We proudly run off to every agency we can with our heads high and optimism in our eyes. A couple years later--after dusting it off for a new interview--we find that all of our hard work seems dated, the styles old, and the printing faded.

Our portfolio is usually the last thing on our minds until we start seeking a new position or our dream job with the corner office window. Often we need a refresher, a boost of motivation and confidence that our universe is in order and ready for any deep-space explorer. I got that motivation after attending AIGA Boston's recent portfolio workshop, Show & Sell.

Hosted by Kristen Johnson and Eric DiChiara of The Creative Group, the workshop devoted the better part of two hours to refreshing the veterans in the crowd and informing students who may be in the midst of their first portfolio-making experience. I personally loved being there because I took away many tips and tricks that I would otherwise not have considered. Detailed below are some great lessons learned at the workshop and a few from books, lectures, and experience.

The three types of portfolios

The way we communicate has changed drastically in the past few decades, and the contemporary creative needs to come prepared with several ways of showing work. The expectations are to have all three of the following.

• Hard portfolio (physical)
  This is the norm. No creative should be without one. The physical portfolio should work without a computer or power source, and should be able to be left behind without explanation. It is key to display your creativity in the presentation and packaging, not just in the pieces inside. Also, make sure you have the final products of any print-run, or at a minimum some "mock-ups," so you can show your knowledge of materials and finishing.
• Soft portfolio (digital)
  A common format is the PDF document, which should include a resume and samples of your top 8-10 pieces. It should exist as a file you can leave behind or have downloaded from a flash drive or website. Its purpose is to be a teaser, a reminder of your capabilities. It is important to not fill it with everything you have ever done. If people like what they see, they will call you for an interview.
• Web portfolio (online)
  Too many print-educated creatives stress about the appearance, creative direction, and style of their website, and that's good. However, it is important that your work be accessible by web immediately. If you are struggling with self-design and development, use some of the free and cheap online resources for displaying work while your superfantastic website is under construction--like Carbonmade, Creative Hotlist, Coroflot, or the Behance Network. It is more important that your work be available now than it is to have the best website. If you are in an elevator with a creative director, you should be able to whip out your phone and show your top three pieces before the doors open. Also, when structuring your website, create a landing page or quick link to your top ten pieces. Hiring managers & creative directors may only have 1-2 minutes to look at your site, in which case your best work better not be hidden under three layers of drop-down menus. Think of your website as a teaser to get an interview. If you want to include all of your work, then make sure it is secondary to your top ten.

Tips for different types of interviewers

Big shot design studio or in-house agency

• Leave your ego at the door. There will only be room enough for one.
• Let them do most of the talking. They know what they want to see from people.
• Don't use a canned sales pitch. Be honest and sincere.

Small business

• Show more rather than less. Show a variation of industries and solutions because work at a small business will be varied.
• Ask as many questions as you feel is appropriate.
• Really prove that you can get the work done and can act independently if needed.

Corporation

• Interviewers want to know you have done what they are looking for, not that you are able to because of other experiences. If they are looking for a Flash developer, they don't want to see direct mail pieces.
• Your portfolio needs to be really polished, well presented, and focused.

Hiring managers and interviewers look for the following

• The appropriate dress for the work environment. A corporation is looking for shirt & tie; a casual design-studio, maybe a collar & jeans.
• Eight to ten finished pieces. Not twenty; not four.
• Portfolio pieces that are no more than three years old, unless they are your best work.
• Creativity in the presentation & packaging of the portfolio, not just the work.
• An explanation of the business results or the R.O.I. for the client.
• A "leave behind" piece, a memento, or something by which to remember you.
• Pieces from a final print run to complement your boards.
• HANDWRITTEN THANK-YOU NOTES!

What not to do in an interview

• Do not bring every piece you have ever made, hoping that something will stick. Be selective and know your audience.
• Don't bash the work that was done before you re-designed or re-branded. You might be in the room with the same people who designed the first set. Instead, explain how the message or direction of the project changed and how you dealt with communicating that change.
• Don't bash other people's work. It is unprofessional and you want to sound positive, not negative.
• Don't criticize, but be honest.

Some questions to consider before your interview

• What do you think of the organization's current collateral?
• What would you have done differently with a portfolio piece if you had more time, money, or negotiating power?
• Who worked on each project with you, what role did you play, and how did you work with the team or client?
• What were the results of each piece? The R.O.I.? Did the project create business for the company? Or publicity?

Some final tips and tricks about portfolios

• Be prepared with three presentations:
  
  
  • A thirty-second pitch with one or two pieces.
  • A five-minute pitch with three of your best pieces.
  • A thirty-minute pitch with your 8-10 best pieces. Also, know your top five pieces and have a thirty-second pitch for each, in case time is cut short.
• Did you do a re-design? Show the original and how you changed the direction or message to meet the current goals of the organization.
• Use the human resources contact as an intermediary to help you craft a presentation for the hiring manager or creative director. Ask him or her questions about what work they look for, what kinds of work they do, and what kind of tech set-up is available in the interview room.
• Plan to meet in a room with no computers or wi-fi, just a table and chair, but be prepared with a laptop and flash drive just in case.

By no means is this an end-all post on portfolios--just a sampling of what I learned at Show & Sell. I hope you've learned a few valuable tips. Good luck with your portfolio, happy job-hunting, and see you at the next AIGA Boston event!

Matthew Budelman is a Boston-based graphic designer and serves as Event Coordinator on the AIGA Boston board of directors. He can be reached at and at mattbudelman.com. The Creative Group specializes in placing highly skilled creative, advertising, marketing, web and public relations professionals with a variety of firms. Learn more at creativegroup.com.

For a glimpse of what you'll see, check out this video...

Matthew Carter was part of a small group of ambitious and visionary people who left Linotype to found Bitstream in 1981 as the world's first independent digital type foundry. Prior to Bitstream, customers bought type from their equipment vendor. Linotype fonts worked only on Linotype machines. Bitstream's founders applied both actual and artificial intelligence in creating digital fonts that could work on any platform.

I worked at Bitstream from 1987 to 1991. It was, for me, a truly transformational experience. I entered a young public relations professional with just one prior job on my resume; I left an experienced copywriter with a sure sense of what I wanted to do in my career. I entered not knowing much at all about type; I left being able to identify the fonts on almost any restaurant menu. I entered not having met anyone in the working world I truly admired and who inspired me. I left knowing Matthew Carter.

My first year or so, I didn't have much interaction with Matthew. He was just this imposing figure who strode slowly on his long legs, usually on the design floor, among the creatives. Tall, thin, with a proud, elegant face and long, straight silver hair, he spoke with a proper English accent and it seemed that if only he had a cape and a cane he could have sprung directly from literature.

It was when I became Bitstream's copywriter (the company being entrepreneurial at the time, all I had to do was ask) that I started getting to know Matthew better. He would explain the particulars of different typefaces for me. I would interview him for articles I would ghost-write for him. I would prepare materials for events at which he was invited to speak. With every interaction, I came to respect his deep intelligence, to enjoy his warm and patient manner, and to revel in my good fortune that I could learn from a world-renowned master.

The last time I saw Matthew was sometime in the mid-1990s, at an Ornette Coleman concert. With his height, hair, and telltale cowboy boots, he was impossible to miss. The next time I see Matthew will be Friday, September 24, at Cambridge Public Library, when he becomes the sixth recipient of the AIGA Boston Fellow Award. It has been my honor to head up the committee organizing this well-deserved recognition. I hope you will join me that night in honoring a brilliant man we are lucky to have within our midst: Matthew Carter.

Register Now for the 2010 AIGA Boston Fellow Award: Matthew Carter. Learn more about the event.

Get ready to retrain your brain! Our first event will include Dana Farbo, the president of acrossair, the company that developed, among other things, the augmented reality NY Subway app for the iPhone. We'll cover topics of interface design, location-aware mobile technology and augmented reality. More details to follow.

About Emerging Ideas:
I'm very excited about the potential of this new board initiative. The inspiration for this new role and its initiatives came from a culmination of several factors including member feedback, an ever-changing design industry, the blinding speed of technological (and social) evolution and a challenging economy.

While I was the Membership Director for AIGA Boston from 2007-2009, I was exposed to a lot of revealing information and feedback from our members. A common thread throughout the feedback has always been a desire to be informed and taught through a broader view of design practice, especially relating to interactive media. As I was formulating a way to deliver on those requests, I realized we had to go broader and deeper than focusing only on training people to "make web sites." You can expect to see events programming, professional development, student outreach and partnerships established that will include some of the following themes:

+ interactive & interface design
+ mobile technology & location-aware socialization
+ user experience design
+ information design
+ human-centered design & design thinking
+ cultural anthropology/ethnography
+ design innovation
+ social media
+ design for social change
+ entrepreneurship & more...

Philosophically, this initiative will promote the marriage of design and technology, not sacrifice one for the other. Strong roots in visual communication principles will remain at the core. What we'll offer is intended to be an ongoing extension of our current collective professional practice of design. As our industry (and thinking) must evolve rapidly along with new innovations in technology, communication and socialization to survive, we'll strive to inspire and teach our community of designers to do so in newer, broader categories of design thinking and practice.

We're currently working on some exciting events and lectures for the upcoming season, as well as great partnerships with Apple, the MIT Media Lab, The Dynamic Media Institute at Mass Art, and more.

I look forward to seeing you soon!

Jodi Vautrin, Director of Emerging Ideas, AIGA Boston
Thoughts? Ideas? emergingideas@boston.aiga.org
Want to volunteer? Mention Emerging Ideas to: volunteers@boston.aiga.org

The panel: Denise Korn/Korn Design, Greg Selkoe/Karamloop, Petrula Vrontikis/Vrontikis Design Office, Mark Randall/World Studio

Over the past year, I've twice volunteered to take photos at AIGA Boston events: the Shepard Fairey event at the ICA, and the Youth Design Boston's 'Looking Back, Looking Forward' event. AIGA Boston got professional photography services for free, and what I got was invaluable.

First of all, I got to experience these two events for free. More importantly, I got to meet and talk to the creative people associated with the event which I might not have had access to had I been a spectator. Many of those people are now part of my professional network, which is great for my business. The icing on the cake for me is that I got to do what I love to do, which is to photograph the human experience. I was able to build my portfolio and build my network simultaneously. To me, that was definitely time well spent."

--Roger Ramirez, Chariot Photo

If you would like to volunteer for AIGA Boston, let us know. Or you can learn more about the benefits of volunteering.

Did you attend? What did you think?

To whom it may concern,

I am writing to thank you for accepting me for the Tim Moore Study Abroad Scholarship. I was so excited to hear the news. This summer I will be traveling to Mexico, where I will study and take two classes in the city of Puebla in southern Mexico.

I look forward to the new environment where I will make my home for two months. I look forward to living with a Mexican family and learning to speak fluent Spanish. I look forward to spending my time with new people, food, and traditions. Furthermore, I am so excited to see how these things will affect my creativity and my artwork.

Thank you for supporting me in my travels and in my passions.

Sincerely,
Eleanor Kaufman

Blog about Eleanor's journey:  http://eleanorpeacebypiece.blogspot.com/

For a lot of industries and organizations, going green is easier said than done. This is also true for the design industry where paper, it seems, grows on trees and green is Pantone 348C.

The 2008 issue of AIGA Boston's The Journal - the theme of which is waste reduction and sustainability - is therefore a timely and valuable resource to help you assess you own environmental impact and take steps to reduce, reuse, and recycle more than you may already be doing.

We encourage you to download this issue. We only ask that you think twice before printing it out.

Download Now (PDF 10.4Mb)