“Simplicity can be a beautiful thing; most times, less is more. An EPUB, however, demands simplicity.” lines that are present in the NYC subway map (seen here: http://www.vignelli.com/recentz2. html). We started by including the title and author of the article as part of the image, but this soon proved to be problematic as the text could not be linked to from the contents page without using a cheat. The text also detracted from the beauty and simplicity of the colourful lines and weighed the image down with its bold black presence, so we removed the typographical element. We then noted that the article openings did not connect well with the simplicity of the cover. We liked the simplicity of the cover, and wanted to carry that over into this element of the publication. As such, we decided to match the illustrations at the beginning of each article to the cover by assigning a different coloured circle to each article. (imace 2) WHAT THE FONT? / When reading a book on iBooks, there is a short list of predefined fonts the user can choose from, such as Georgia, Baskerville and Verdana. They work, but using presets would not add any sense of originality to the publication. As such, we decided to choose our own fonts. Massimo Vignelli is renowned for being very particular when it comes to typefaces. In one interview about the proliferation of fonts, he had this to say about how many good typefaces exist: “there’s no more than a dozen, actually I don’t use more than three or four in my life.” With this in mind, we chose two fonts he uses often: Helvetica and Bodoni. We soon realized that this was a poor choice; as anyone can unzip an EPUB file, only freeware fonts can be included. Additionally, high contrast fonts like Bodoni do not read as well on screen as in print. As an alternative to our initial choices, we decided on two open-source fonts from Google Webfonts. We wanted to keep a degree of similarity to Helvetica and Bodoni, so we chose a sans-serif typeface named Questrial for the titles and headers and a serif typeface named Sorts Mill Goudy for the body text. To further establish a connection to Massimo Vignelli’s design, we used two of his favourite colours: red and black. Red was used for all the titles and headers, while black was used for the body copy. FINDINGS / Working on a piece that was about such influential designers was a challenge as we had to make sure to stay true to their voice, while maintaining our own. We also had to work as a team and play off each others’ strengths to achieve the final product. Mod states, “Of the books we do print — the books we make — they need rigor. They need to be books where the object is embraced as a canvas by designer, publisher and writer. This is the only way these books as physical objects will carry any meaning moving forward” (emphasis in original). The same might be said for ebooks. REFERENCES Big Think. “We Use Too Many Fonts.” Interview with Massimo Vignelli. Big Think. 15 April 2010. Web. 4 Dec. 2011. Burnett, Ron. “Digital Culture Notes: Part Two.” Blog entry. Critical Approaches to Culture + Media. Emily Carr University of Art + Design, 6 June 2010. Web. 4 Dec. 2011. . Mod, Craig. “Books in the Age of the iPad.” Blog entry. Journal. Craigmod.com, 4 March 2010. Web. 4 Dec. 2011. —.“Post-Artifact Books and Publishing.” Blog entry. Journal. Craigmod. com, 14 June 2011. Web. 4 Dec. 2011. ACKNOWLEDGEMENTS We would like to thank the Design Observer for letting us use their content and Celeste Martin, our typography teacher, who provided us with invaluable technical help while working on our epublication.