This is great, April, Friday, April 3rd, please. We have a great lineup today, and we decided to make an effort to get started closer to our earlier announced time of 12.15. We've been letting that drift a little bit, and a couple of members correctly pointed out that we were letting it drift too much, so thank you for the feedback. We do appreciate the feedback. Before I get into our program, there's a couple of announcements. The, first of all, I want to say thank you again to Prevea, who has been our sponsor for our first Friday forums this year, as well as last year, so we appreciate them, and I know there's one representative from Prevea, but thanks again to Prevea for all the support. And I also want to thank Windsor Industries and Charles. Windsor is here for their stage. You may not realize that this staging is actually originally intended for docking at, and lakes, and rivers, and whatever, so a personal use here, not Charles, so we thank Charles and Charles for our Windsor Industries. Announcements for the upcoming first Friday forums, our next first Friday forum will actually be on the first Friday in May. As you know, we moved ahead a week because last Friday was a good Friday, would not have been a good idea to have first Friday forum then. But we're coming, our program next month, in our committee's humble opinion, we've got a great lineup coming. We'll be really on the non-attainment status that Sheboye County has as far as VOC of it, and really the way we want you to look at this is it's not going to talk about non-attainment, but it's really to talk about, I think what you're going to hear is how many of our companies in Sheboye County are really at the leading edge of green technology, and this is one example of them being at the leading edge, and you're going to hear how our companies have had to deal with this attainment level for emissions that is really stringent in Sheboye County, and we're also, we'll have a speaker who will talk about sort of the law in general, this kind of give us sort of the layman's perspective, and that will be Scott Manley from WMC. And then we're going to have Eric Sandbake from Alliance who's going to talk about how Alliance is dealing with the emission requirements, and they're in the midst right now of remodeling or refurbishing one of their stacks, and they're going to do the other one, and that's going to have a big impact as well. And then we will have Steve Steinkreis from Plymouth-Bohm who has been very active in this area. He's going to talk about how local businesses are dealing with this. He happens to know how a number of local businesses are dealing with this, I think if you thought initially it might be kind of a geeky, wonky kind of topic, it's not going to be, I think you're going to find out it's very interesting, and you're going to find out what really what Sheboye County businesses are doing, where they are, that they're the leading edge of one item of this. So then the next month we decided to, the next month we had initially scheduled for the legislators, and I don't think we told them this yet because we just decided this morning, but we're going to bump them from the agenda, not because we don't think what they have to say is important, but they're out of session and they're in campaign mode, and so we thought maybe we will give them a break and we also thought it would be good to kind of stay on this sort of green topic, and we are going to bring in a number of area businesses to talk about what area businesses are doing with their trash and the waste that they generate from their operations. Again, what many of us don't know is that many businesses in Sheboye County are at the leading edge of recycling, reuse of materials, and so we're going to come here, we're going to have three small, medium, large, talk about what they're doing, and hopefully there'll be sort of some best practices, things that'll come out of that session. So that's the program for June, July we take a break. In August, we are going to have one or two, we're either going to have the DOT Secretary to talk about kind of the things that are changing at the DOT level, and also the Sheboye County specifically, DOT Department of Transportation, or we're going to have a representative of the U.S. Chamber of Commerce, so August and September will be those who depends on schedules, which one will go, which one. And then in October, we started to look at having some people talk about sort of the needs of businesses in data, and in communications and in web, in wireless. That's a big issue, and one of the big issues is what is going to be the ability to handle the large amounts of data, and we're going to start assembling a group of people who will talk about what is available, and we hope to use that as a session to also get feedback from our companies as to what they are going to need for wireless capability going forward, and then we can compile the information and give it to all the wireless providers and see what kind of feedback they might be able to give us. We have had some discussions with them and understand that that's kind of, that's valuable feedback when they make their decisions on where they want to expand their capabilities. So that's the program that we've got coming up in, I think there's some really neat programs in there. So with that, you all have the April events sheet, take a look at that and if you can make any of those, we encourage you to attend any of those sessions. So with that, I'm going to get into the program for today. Again, as we build it, what we wanted to do is have a number of representatives of our communities speak about what is happening in various elements of economic development in Sheboygan County. And who we have with us this lunch are, and this is the order in which they will appear, Mayor Don Pullman from the city of Plymouth and Mayor Pullman will talk about development in Plymouth as well as the railroad which he has a passing interest in. Next will be Mayor Mandy Meyer from the city of Sheboygan Falls and Mayor Andy will talk about things that are happening in Sheboygan Falls. Next will be Chad Pellecek who is the director of city development in Sheboygan and he's going to talk about projects in Sheboygan, things that are happening there. Next we will have Dave Chikolinski. Did I say that right? Dave wasn't out. That's not okay. He's from the Sheboygan County Economic Development or otherwise known as SCEDC. He's going to talk about what SCEDC has been doing for to promote expansion and development in Sheboygan County. And last, as the cleanup batter, John Rogers from the chamber will speak about what the SCORE program has been doing to help encourage entrepreneurial development in Sheboygan County. So with that, anybody have anything else they need to add? Okay, then we will start with Mayor Pullman and we're going to have them speak on the document. Thank you Dave and welcome everybody to today's First Friday forum. It's certainly an opportunity where us as business leaders and community employees and workers and interested people bring together all of our, I think talents which today is a good forum for the collaboration effort that we acquire. We would not be where we are today in the Plymouth development and economics had it not been for community block grants 25 years ago that put Gilson on the map in Plymouth and others. And certainly we've continued in that tradition with collaborating and encouraging, I think to be business friendly in the community. And business when they know that you are working with them, fighting for them, they respond. And I think we have good examples of that certainly in our cheese industry. And in the last five years, we've got over 130 million of local business investment in Plymouth. And yes, I'm passionate about the rail. No, I can't talk on the record about it, but off the record, the choo-choo is coming people. Okay, but you didn't hear on the record. We're very excited about even that opportunity that brings to us with the multiple turnover of dollars to a community that project is now 19 million. You can do the multiplier effect and you can get 50, 60 million real quick out of that. I think the employment opportunity that brings along with all of the increase expansion, the technology center that we collaborated again. People said we couldn't do it between the city of Plymouth, Plymouth High School and LTC. Yes, we can do it. It's a matter of how you go about it and work it out. So regulations are there, you follow them and you can get the job done. We've got a lot of inquiries coming to us because of the technology center. And I think that that's something that will benefit the whole county. I don't look at businesses coming to only Plymouth. I look at businesses coming to the entire county. We might get this one, we might get the next one. If Randy gets it, that's fine with me. If Terry gets it, that's fine with me because eventually it'll spin off to us and it does. We all benefit if it comes into the county and the more that we can partner with businesses, certainly the better off we're gonna be. The types of things that we continue to do, sometimes we learn from others that didn't go quite the way you wanted them to. And quite honestly, Sheboygan lost a couple of businesses recently when Borden's was in Plymouth, that they were looking at different locations, investing 13 plus million dollars. You sit down and say, what does that mean to your community? In our case, it's $22 million annual salary and benefits that's pumped into the community. You do a lot of things to keep that business in your community for your businesses, your restaurants, your grocery stores and everything else. And people that work at Borden's live throughout the county, so we all benefit from it. We have three TIF districts. We work very hard to keep looking at new tenants for there, but we don't do it to take away from Randy and Falls, or Terry and Sheboygan. We want people coming into the community. I think that the relationship that we have in county government, in city government, speaks highly of the attitude that we're all bringing to the table and none of us are greedy because sharing it, we all share the bounty. So the message is certainly to keep working together. We invest, we've invested heavily as a city of Plymouth in our different projects. And I think the more we bring to the table, the more we invest. And of course we have to bounce the books in doing that process. The more we all benefit as sharing that tool. So I thank all of you for being part of the community, believing in the units of government and the businesses that we all run and operate and participate in. And I would encourage all of you to work with your local businesses as much as you can, because we're all in the same boat and we need your support and you need our support. But we are growing and we continue to grow and I think countywide our unemployment is in a good position. We continue to add sometimes five jobs here and five there. We don't necessarily add 100 and 200. That's okay, but we're going strong. So thank you very much. John's got to hook out. He told me five minutes. So thank you very much. And Randy, you're next. You're gonna sit on there, D. Thanks. Beacon didn't feel like jumping up on the stage. You know, as I was preparing for this, I had a few general comments. You know, when somebody's talking about the economy and it just struck me, you know, is this the Bush economy, the Obama economy, the Walker economy or the Doyle economy? I think it depends on which part of the political spectrum you come from. And I think it also creates an interesting dichotomy. If you say it's one way or the other, how do you justify it's not the other way in the statewide economy? That was just something that crossed my mind because we are heading into political season with the recall election, all kinds of ads. And if you listen to these ads too closely, you will think Armageddon is coming. Okay? You'll notice we had some local elections and none of us predicted Armageddon coming if someone else won or this or that thing happened. So again, I really up to the local counties, cities, villages and towns to figure things out. If we wait for the state and the feds to tell us how it's gonna be and things, we might be waiting a long time. The meeting falls in a good position. Was meeting recently with my utility. We're looking at a way to phase in a tripling of power for one of the companies in our city, which tripling of power means they're doing something right. And we wanna make sure our system can handle it, the good news that can. It's just a matter of how do we wanna do that? Do we wanna do a dedicated feed to this company? Or do we wanna do a contingencies based on our other systems? And really making sure that they have reliable power. That's really what the meeting was all about. A lot of times I'm asked by the Highway 32 corridor and what's going on with falls metals. Well, we were sued, we won, he appealed, we won. Now he's going to the Supreme Court. My guess is the Supreme Court probably will not take the case, but we'll see. I've decided to be a nice mayor and not pursue with any other actions unless things get way out of line out there until we get a ruling on the Supreme Court area on that. But really, that'll be step one in cleaning up that corridor. And I knew that would be the toughest step and it's been, I've had to be much more patient than I'd like to be on it. That's not my personality to be that patient. I come from a wrestling background where it's like boom, boom, get it done and let's go on. But sometimes in this job you do have to be a little more patient. So once step one's cleared up, then we'll look at other issues and other problems on that Highway 32 corridor. But I think there's opportunities to make that a better entranceway to the city. The selling of Plain Food Green to Ron Burroughs is an interesting development. Terry Van Egan, my chairman of economic development, I were working with someone else. We thought they were going to be buying that and then Ron stepped in and saw a good bargain and picked it up. The economics will change substantially. The bank was over $4 million into that project. I believe Ron paid 900,000. Now you can offer some reasonable rents and lease to companies. And so I think things will happen out in that area. Sheboygan Falls is from Maxwell on our TIF capacity because I wait for the right opportunity. We do have a TIF out on Vision Park which has about 11 years left on it. But I do have the capability to do more TIF districts if the right opportunity comes along. And the right opportunity to me is something that's $3 million or more in initial development. Sometimes I have people that want to do a half million to a million dollar project and they want a TIF district created. Well, from a mayor's standpoint, that's just really not enough to start things. So I have to be cautious and make sure I have enough to get the thing off the ground to a good start. If my predecessors weren't patient in the TIF district I was able to amend to buy Vision Park, we wouldn't have the opportunity to buy Vision Park. So it's really to their patience and good stewardship that I was able to start Vision Park. What we do need to do at Vision Park is about $250,000 in economic development account that kind of sat there waiting for their opportunity. I think the right opportunity is now to spend some of that money to develop Vision Park. So as Dan kindly put it to me, it looks like a cow pasture now. And we kind of want to change the look of that to make it look more like a business park or industrial park. We've kind of left our options open on which it will be. I guess it depends on what the first large tenant would be out there. Really if it goes more business or more industrial. We created its own zoning called business park zoning. So we kind of left our options open on that. As far as the city in general, I mean, I look at our downtown area again, shops are basically full, did a ribbon cutting yesterday. So I think things are going well there. Sheryl has been recently named our executive director of our chamber main street. And I'm excited about that. I've worked together with Sheryl and her other capacity at chamber main street. So I think we've got a good, good solid working relationship. Also dealing with a few hotel possibilities, either a larger hotel or what they're calling a mini hotel. They wanted to call a bed and breakfast, but when you get above eight rooms, it's not a bed and breakfast anymore. So we had to tell them, no, you don't really fall in the bed and breakfast rules.  So we're not willing to cut corners, but we are willing to work with businesses. Bemis continues to be an extremely strong employer in the Sheboygan Falls area, obviously, and was instrumental in working with the county, the EDC, Plymouth, Sheboygan Falls, and a number of other entities that I've probably forgotten on working on the rail project. And as Don said, I think it has a real promising look to it right now, which is something three, four years ago, when the railroads embargoed and stopped to Sheboygan Falls, there was days where I didn't think there was any promise there. So it just goes to show you just have to stick with it and keep pursuing things. And speaking of pursuing things, we will get a roundabout at the intersection of Happy and 32, just off of Highway 23, right where Green is. I think they'll even make that area more developable and attractive because there'll be some traffic control there. Won't be happening until 2015. I only started on that one eight years ago when I was elected mayor. So good things come if you're patient and work with people correctly. So I'm excited about that. Other than that, I mean, the one thing that occurs to me in Sheboygan Falls is we don't have a lot of problems. I mean, we've had a few companies leave. Tom Tessui took Torgonal to the Illumeral Building and he told me he would've loved to stay in Sheboygan Falls, but we didn't have a big Illumeral Building sitting there to be moved into. So you kind of have to accept that sometimes we have exactly what that company needs, as Don said. But the good news is it stayed in Sheboygan County. Viking packaging is working on building something again. All those jobs stay in Sheboygan County. So I don't really chalk those up to losses for Sheboygan Falls. There's opportunities now that we will have and do have some open spaces in our Forest Avenue Park. One success I had last year is Meyer Aluminum really needed to move across the street and need more space. They moved into Larry's hauling spot, but there was some fire department concerns and we met and I went out there with the fire department and some of my fire guys said, well, no, we inspect plans. We don't go out unless this time we're going out to meet with the customer, come along. And we actually worked it out very nice. They ended up putting a sprinkler system in which took care of some of the problems and it wasn't just because of Meyer Aluminum. I was happy to keep them either. But so there are a lot of things you work at behind the scenes. I tend to like to do things quietly and would rather see other people get the credit. That's kind of my style of leadership. So again, I think things are going well in Sheboygan Falls and at the end of this I'd be happy to answer any questions. Thank you. I'm Chad Palaszczuk, the director of city development for the city of Sheboygan and what I decided to talk about today is a little different than economic development but it has ties to economic development and those of you that are in the city of Sheboygan have probably heard a lot lately about the Sheboygan River Dredging Project. This is a massive project for the city and the county. This is upwards of 80 to $100 million of federal dollars. So I just wanna run through some key points to this. As you can see, it's a short-term inconvenient long-term gain. I think this is a major economic development driver for the county and the city going forward. So this is a little hard to see but this is a map of the corridor that I'm talking about from the mouth of the Sheboygan River just past 14th Street Bridge to the Kiwanis Park are actually the limits of the dredging that'll be occurring later this summer. And then from that point out to Taylor Drive there's $5 million in habitat restoration projects happening in the areas in green. So this is the 80 to $100 million project area that's gonna be happening. This is a project that's gonna be 350,000 cubic yards of material dredged from the Sheboygan River. Three major fish and wildlife habitat projects are underway. There's gonna be three de-watering sites and that's one of the key things. We're talking up to three, two to 300 trucks a day leaving downtown Sheboygan via Indiana Avenue and Penn Avenue. Some trucks are gonna be going north to Hilbert and Waila landfills and other trucks are gonna be going south to a landfill in Germantown. It's a 24 hour a day, seven day operation and there's going to be bright lights and dust and issues and noise and everything you can imagine. Next slide. We have closed for those of you that are boarders the A Street Boat Launch and the 14th Street Boat Launch are both closed for 2012. All launching will have to occur in the current Harbor Center marina launch ramps. That's to accommodate dredging operations. We're discouraging canoers and kayakers from newing in that portion of the river from the mouth up to Kiwanis Park. Actually we're pushing people out beyond Taylor Drive to go upstream from there. All the docks will be put in or have been put in as planned. We're working with the fishermen to try to relocate docks and get people to where they need to be. It's gonna be a huge coordination effort. There's gonna be traffic impacts and portions of Kiwanis Park along the river will be closed for this summer. This is just a brief map. The area in red is the dredging impact area and then what's proposed for canoers and kayakers upstream and trying to keep them out of the lower portions of the river. This is what you're gonna see. Five of these, two in the lower portion and three between eighth and 14th Street. The dredging is gonna be done all mechanically. Be put on a barge truck to a dewatering site. Hence the reason why we're discouraging canoeing and kayaking. Now I just wanna talk about long-term gains. This opens up a wide variety of gains for the city and the county as a whole and it offers us some redevelopment opportunities that we hadn't had in the past. There's some key areas of the downtown that had historically been manufacturing could potentially become another use, could be redeveloped for better use, have access to the waterfront. So this whole area where we've got estimates of 2013, the potential for projects that we know of about $4 million that are hanging out for this project to be finished so they can move forward. There was a case study prepared by the Illinois Indiana Sea Grant that really interviewed people across the wide spectrum in Sheboygan to get their feel for what this river does and the biggest thing that came out of it is the negative impacts that the Sheboygan river has on the region as a whole. Everybody says there's no way I'm gonna go fishing in there, there's no way I'm swimming in there so we really have to work hard to change that perspective. Long-term gains, 10 to 16 feet of draft. We currently have between three and five feet of draft. We're at 16 feet outside of the South Pier district and 10 feet up to the 14th Street Bridge. So this is major from what we currently have now some places upstream of A Street Bridge you can barely get through with the canoe. And then we are, as you know, the Yorktown is making seven stops here. It's a cruise ship, 252 feet. You can see it down here in the corner. That's really what we're looking for in the 14 to 16 feet is to get more of these types of boats in if you go to the next slide. We're also going after this one. This is another cruise ship that's actually stopping in Manitowoc this year. So we're, once we get some depth our goal is to get more of these through tourism stopping and docking off at South Pier and bringing people into the community. Then the last, I'm gonna talk quickly about fish and wildlife habitat.  The EPA has designated $5 million towards this. We're under design now. This is the Kiwanis Park area that I'm talking about that's gonna be closed. Portions of it along the river brought to those events will still continue. There'll be just some impacts but really it's going to look at how to bring back the corridor and kind of get away from grass cutting and put natural areas and bird habitat and nesting boxes and those types of things. So this is just one of the projects. Go to the next one. This is an island in the river. Most people don't know this island is in the river. It's called, we call it the unofficial Wildwood Island. It's off of the Nemshoff property. It's currently, every time it rains in the different flows that come down the river, there's all different aspects to what happens in it and they're gonna try to recreate the ecosystem in there and actually create like a log jam like a beaver would do in a river to back it up and create habitat and backwaters from the river. So one of the tasks that we've been working on which in my career has never happened is I went to the city county purchasing agent and said to him, I have a task for you, you need to find me 350 trees with roots on the bottom of them. And he's like, what? And I'm like, yeah, so that's what we're up against. We're looking for trees if anybody has any that you're putting a road in anywhere, please let us know we want your trees because they actually are going to create a dam like a beaver does to fill these backwaters up and create the habitat that's needed. And then the last part is this is a county project but the city is doing the design and working with agreement with the county but it's really that what I would consider a mud pond at the entrance of UW-Shabuigan and Lutheran High School, it's goose droppings and everything, it's always brown. They're gonna drain that, create a wetland in that area. You can kind of see that at the bottom and then do some improvements at Isling and Park encourage because this is a key fishing area for the community. So in a nutshell, this is what we're up against. This is a huge project and I keep saying that that the until the trucks come and they're driving out of the city over the course of the next eight months, this is, you know, there's gonna be a huge impact to our downtown and I can't stress enough that we're trying to make sure we've got all our tees crossed and dies, dies, eyes dotted. We've been working very close with the county planning department and EPA and the DNR. So there's more to come, but really this is huge for us and it's a huge economic driver going forward. So that's all I have, thank you. Hello, my name is Dane Czekolinski with the Shabuigan County Economic Development Corporation. For those of you who don't know about our corporation, we are the public private non-for-profit that is in charge of promoting Shabuigan County as a prime business, prime place to do business. And just a brief overview is in the way that we try to accomplish that is we offer information and consulting services to support business growth. This could include anything from non-traditional financing options, cost reduction through state and local programs as well as site selection and development assistance. So that's in a nutshell of what we do. Right away, I'm gonna give you a little fun fact to talk about tonight when you're at your fish fries. How many of you knew that our GDP here in the county was $5.1 billion? And to put that into perspective, out of 190 recognized nations around the world, Shabuigan County would be about 150 on that list. That puts us in the economy about the size of Liechtenstein and Kyrgyzstan. I mean, for those of you who know what countries those are, but there's 50 nations on earth that produce less than this county. That's an amazing fact. Right away, what we've been seeing is over the last year about mid-summer, something happened, something picked up. And for those of you probably in the broker community realize that we started running out of space really quickly, primarily in industrial. And that's one of the challenges that we've seen going forward here. If any business here is particularly industrial is looking for something with about 20 foot clear that's roughly the size at which modern industrial it really starts to need. Anything over 40,000 square feet, if someone's looking to lease, we don't have it. I cannot tell you that two or three businesses were looking at Shabuigan County and had to go elsewhere because it couldn't find space here. So that we have identified as one of our primary issues going forward. So if anyone wants to talk about that and how we can accomplish that, I'm completely yours. The second thing is, last year we started an initiative for young professionals. We wanted to see what their grasp on the county was. And one thing that kept coming up time and time again through this effort, and some of you may know was a need for market rate apartments in downtown Shabuigan. And the reason for that is, is if you think about it and everything we've been told about the millennials is that they're much more urban in nature. A lot of companies, very great companies here in the county are sucking in young people from Chicago, from Milwaukee, from all around the area. They don't necessarily have connections here. And the first thing they wanna do is live in a place where they can socialize, they can then go out and they can be in the middle of it all. So we've also identified that as yet another opportunity moving forward here in the county. And general, some of the actions that we've taken over the last year, we've been able to make quite a bit of headway on getting us more visible in terms of commercial brokers. For the first time, we listed area industrial parks in Acceligent, which is the official commercial database for Milwaukee area brokers, which Shabuigan County is a part of. Before then, nothing was listed. So that was one of the actions we took. We also took that data and we combined it with the local MLS. And we're still having a little bit of development issues by imagine here in a week, it'll be cleared up. But we've been putting it into a system called Location One, which is supplied by a great company in the area, right, Bruce? But anyways, we basically now put, for any company out there, normally you'd have to pay about $3,000 to see what commercial properties were out there. We now supply that for free to everybody on our website. So those are just some of the things that we've been working on just in general, trying to get a solid push for all the communities moving forward. So definitely I'm looking forward if anyone has any questions, and I will leave it to John. All right. Well, first on behalf of the Chamber of Commerce, I'm glad to see everybody here. One of the things that we've tried to promote over the last number of years is cooperation and collaboration. And I appreciate Mayor Pullman and Mayor Meyer and Chad and Dane talking about the ways in which people have been working together to make things happen here in Sheboygan County. What I'm gonna talk about today is primarily SCORE. SCORE was an acronym called, that stood for Service Corps of Retired Executives. Well, there are a number of us who are involved with SCORE, who are not retired yet. We will be one of these days, I think, but so far we're not. But what we do is work cooperatively and collaboratively with entrepreneurs or other businesses that need some outside assistance or guidance or maybe some new ideas. And make sure you pay attention to that little sign that we have over there because that talks a little bit about SCORE. But I also wanna introduce the rest of the SCORE team that's here with me today. Linda Olson, Diane Unger, Sharpakniak, John Williams, and Dick Kramer. Now, why are these people so important? Well, I can't handle all of the entrepreneurs that come to me. So, just like Aaron Rodgers, who doesn't know how to spell Rodgers, by the way, I get to hand off people every now and then to this great group. An example being Lily. I met with Lily, please stand. Lily is kind of a poster child for us right now because I started working with Lily last August with her ID. Well, it quickly became apparent to me that I was gonna need some other resources to draw upon. So she's sitting between Linda and Diane, and it's very appropriate because the three of them have been working together like crazy over the last number of months. And in the not too distant future, Lily is gonna transform the villager into a restaurant called Catalonia. And did you bring your trial menus? All right, if you wanna see what Lily is gonna offer at Catalonia, she's got some sample menus. I recommend from what I've seen that you look at the menu, you take one, and you plan ahead because we wanna support entrepreneurs, right? And if you take a look at some of the industries that are long-standing businesses in this community, they started out as entrepreneurs. You look at Sargento. Sartori, Gentine, with an O, makes a difference. And there's all kinds of other examples that we can use of companies in this area that have grown from ideas. The other thing I wanna call your attention to is the lineup. You can't tell the players without a lineup, or you can't tell us about the programs. Now, we don't have enough for everybody, so I would ask that if you're really, really interested in score, you take one. And why would you be interested in score? Because we've got a tremendous amount of knowledge in our group that is useful to entrepreneurs, but we need more knowledge. And I know there are some people in this room that can become outstanding score counselors because you have run a business, you've been working with banks as a banker, you're an accountant, you're a lawyer, or you have some other area of expertise that is really important for somebody who is an entrepreneur that might need just a little bit of guidance or maybe they need a little bit of mid-course correction. That's what we're looking for. Also, in that is an announcement about an event that we're doing on June 23rd, which is a Saturday, from nine o'clock to two o'clock, we're having a score fest, if you will, where people who are entrepreneurs can come in and meet one-on-one with counselors. And the counselors are on that sheet with our areas of expertise. You can stay there the whole day if you want and meet with five or six of us. So take a look at that. There's other brochures in the packet and we're looking for leads also. In other words, if you have a business or you know of a business that might need a little bit of tweaking, come and talk to one of us. I'm usually the entry point. I'll hand you off if I think it's appropriate or I'll keep you to myself because I love working with entrepreneurs. I really do. The other thing that we would be real interested in is some financial support. You already are supporting SCORE as a taxpayer because SCORE is a small business administration program. We don't get a whole lot. I think we're getting $1,000 this year to do a little bit of marketing, to do a little bit of radio advertising, to do things like that. I don't want to give myself the hook and I guess I will stop my presentation there to see if anybody has any questions about anything that you've heard about today, whether it be from Mayor Pullman and the railroad. I'm real glad that that's gonna happen from Mayor Meyer. Some interesting things going on there. Dane and the downtown program, Chad and the river are entrepreneurs. So Dave, you want to come back up here and answer questions or field questions? I'll field them. Okay, questions, maybe I can ask. Questions anybody have? Mayor Meyer, the vision park in Falls seems the main contact to the highways is highway is through County Road TT. It's something being done for that intersection because getting semis off a TT on the street is pretty difficult these days. At intersection, there's plans to have to redo highway. There's plans to redo highway 23 which will result in that intersection getting completely refigured. Before highway 23 reconstruction, I would say there's no plans imminent with the DOT. So it's definitely on the radar. I fought very, very hard to keep TT open to highway 23 because there was some plans and the future TT would be shut off and I thought that was just very critical to Shboyton Falls, the airport and the town of Shboyton Falls fire department that TT stay open. So that was successfully done. That's in the long range plans but there's no immediate plans to do anything with that intersection with the DOT and the things. Any other questions? I'm going to ask a question. Okay, go ahead. Regarding the dredging, obviously there were problems created many, many years ago but what has been done upriver are they discussing that as far as front waste and other things that are going to be impacting water quality and wildlife and stuff? Is it going beyond a river to address future problems? I have this a good question. I think they'll continue to work with the county conservation department and some of their programs. I don't know that soil sediment runoff is always going to be an issue into the river. I don't know if there's nothing planned or there was some upstream that were planned as part of this. It becomes a difficult situation when it's federal funding and you have to try to get private access onto properties versus public access. They did look at that. The Sheboygan River Basin Partnership is the one that originally applied to the feds for this funding and they identified these key projects as significant projects that could be implemented and kind of meet the timeline and would then continue with other projects upstream as part of their partnership with the county. Other questions? Just a question for Chan. Also, do you expect to get all this work done this summer? The plan is to be done. Originally they had said they were going to be done by September 30th and now they said they're going to be done by the end of the year. Following up on the dredging project, I don't know if you mentioned, Chad, when does it formally begin? And is there like, are they going to start in one area or are they going to work in different areas? When they pull the stuff up, are there staging areas downtown? Correct. They're actually, the timeline for actually starting in is not confirmed yet. They're still negotiating as the EPA still negotiating with their contractor to secure that. But the intent was to actually start dredging, start the work and the dewatering site preparation at the end of May and then start in dredging in July. The three locations that are on the radar screen as being looked at is the former Wisconsin Public Service Corporation Camarena site. That's a city owned property on the corner of 10th and Wisconsin Avenue. That's one dewatering site just north of the Penn Avenue bridge. The other one is the Winsa property, which is the former Alliance property right next to the A Street bridge. Those two dewatering sites would be for the portion of the river from A Street up to 14th Street. And then the offloading site for, what was a Corps of Engineers project prior, it's now an EPA project, that actually offloading site is on South Pier directly east of the Searice Coal condos between there and the fish cleaning station. So unfortunately a lot of the traffic from that project is gonna be right in a prime commercial district. But the issue that came up is there's no other accessible to be able to offload it. And this was a property that's owned by the Redevelopment Authority in the city of Sheboygan. And it was easier access to get to it. But they've said all along, it's gonna be very challenging because the river is pretty well developed and there's not a lot of offloading sites to be able to do a project of this magnitude. When you say dewatering, maybe just explain that, I think we might all have an idea, but. The dewatering is basically where they put the material in on a sedimentation pad where the water runs off into a sump and then they treat that water and put it back into the river and then they'll mix a material called calcite, which is calcium chloride and fly ash or something into it to thicken it up. So, and then they'll load it in the trucks and hand and truck it away. And so one of the things that a lot of people have said is, is this gonna be slopping all over and be all over the road and we're gonna be plowing the roads with our snow plows because we have all the sediment in the roads. Well, that's not the case. The case is, is this material, when it leaves the site, is gonna be like the compost that you would use in your garden. There's gonna be some moisture to it, but overall it's going to be thickened enough that it won't be slopping over the side of the truck. Now that's not to say there's not gonna be dust and dirt in the roads. We've got a plan with our department of public works as well as the contractor to deal with those issues on a timely basis, but there is gonna be dust and there is gonna be dirt. Is there been any word on the company that was gonna move in the layer of the plant? Did you hear the question? Are you referring to green and viral tech? Yeah. That's, the last we've heard on that project is they're still trying to acquire financing so nothing has been solidified at this stage. If I can ask the mayor, I mean the railroad project, what does your crystal ball say when that'll be formally complete and announced? Or Mayor Meyer, whoever wants to. You deserve crystal ball. After five years of being shovel ready, you become patient real quick. So we will extend our patience a little bit longer but yes, we're very optimistic that it'll go forward. Hopefully they'll start to brush out in May. Hopefully it will be the falls. If it goes through next September, but that all depends on, of course all the people that got a sign off yet. So we're hoping and we're very optimistic. I take it you, the governor's office and the state department of economic development has been working with you on this? We have worked with DOT under Doyle and DOT under Walker. We've also worked with both Department of Commerce and everybody's involved, everybody's in their head, but of course you gotta have, we don't need lawyers in the crowd, I better be careful. We have to be, the lawyers have to bless it and of course, we all know how quickly they were, sorry about that, but it's, we're very optimistic, yes. I am taking the microphone, not because I have a question or an answer, but it's because I wanna introduce you to somebody who's gonna be a very important person and a very nice person for our region and that's Barb Fleissner. Barb is the recently appointed new account manager for this area. I've known Barb for at least 10 years. Account manager for Google. Wisconsin Economic Development Corporation. So regional director, regional account manager, good person, friend, tenacious worker, all kinds of accolades that I can bestow and put pressure on Barb. But I was delighted when I heard that she was gonna be the person representing this area, because I know she will work tirelessly, might put too much pressure on you, tirelessly for us and you as an individual company. So Barb, thanks for coming down here. Said we would close. Any other questions anybody has? Hearing none, and thanks again for coming. Remember the May 1st, Friday, which is gonna be on the attainment, very interesting program, you'll get something by email on that and have a great weekend. Thank you.


Coming off their record setting season last year, the BSU softball team is picking up right where they left off. Heading into Saturday, the Beavers were 16 and seven and tied for fourth in the NSIC with a six and two conference record. BSU looked to better that record Saturday hosting NSIC's seller-dweller, Upper Iowa for a pair of games. Early on game one action, Jesse Os flashing her stuff, striking out Allie Green looking, she had nine on the afternoon. But the BSU offense came to play in this one, the top two upper run, Angie Roberts slaps the double to the right field gap. Then a couple batters later, two runners on for Brooke Phillips. She doubles off the right center field wall, both runners score. Beavs take the 5-2 lead. Same score in the fourth one on for Allie Ripka and she sends a shot through the left side of the infield for the RBI single. One of two hits for her on the night. BSU goes up four. That's the margin they win by 7-3 in game one. Game two, Upper Iowa taking that one. Edging BSU 5-4. If you've enjoyed this segment of Lakeland News, please consider making a tax deductible contribution to Lakeland Public Television.


Friendship between the people of India and Nepal knows no boundaries. It reflects shared traditions and a common cultural heritage. Physically, the two nations share an open border. The common cultural bond leads to Lumbini in Nepal. The birthplace of Lord Buddha and Kushinagar in India, where he attained Mahanirvaan. The beginning of modern Indo-Nepal economic cooperation started with construction of roads, airports and bridges. The Mahendra Rajmarg, also known as East-West Highway, was the first in a line of many path-breaking projects, linking eastern Nepal to western Nepal. Airports at Kathmandu, Biratnagar, Bhairava, Janakpur, Simra and Pokhara were built, helping connect the remote areas of Nepal that fall beyond the reach of the network of roads and highways. Out of the total operating joint venture industries in Nepal, India constitutes almost 35%. Nepal's exports to India have been growing constantly over the years. Increased trade has contributed to the rise in the per capita income of the people, ushering in new dimensions in lifestyle across socioeconomic strata. Major private Indian companies have set up ventures in Nepal, such as Dabbar. Its venture in Nepal takes full advantage of Nepal's unique flora to produce and market the wide range of herbal products that this manufacturing house is famous for. In the field of education, the two countries have shared a common system of higher learning since 1951, with a whole generation of professionals in Nepal having been trained in India in the 1950s and 60s. The premier university in Nepal, Tribhuvan University's specialist departments, such as the Science Block, have been set up with Indian cooperation. Economic cooperation could not thrive without the vibrant interaction in the area of human resource development and interchange of culture. Nepalese talent, such as Manisha Koirala or Udit Narayan are now household names in India. The friendship between the people of the countries is enduring. The Indians and the Nepalese are always communicating with each other, exchanging ideas, interacting during festivities. The legacy of our two countries past is a priceless gift. We are linked by history. We join hands to give shape and inspiration to the present. Together we are destined to celebrate a magnificent and vibrant tomorrow. As echoed by Nobel laureate and renowned philosopher Albert Camus, Don't walk in front of me. I may not follow. Don't walk behind me. I may not lead. Walk beside me. And just be my friend. This is what Indian-Nepal relations is all about. Enjoy friendship.


Hello, my name is Nadeh Wadalaw. I'm studying computer science at DCL STEM Academy and I'm the April student of the month. I chose computer science because of my love for technology, which I inherited from my dad and my love for math, which I got from my mom. I'm doing the reason my bond is for a group in the first place and when it was time to select my CTE, it would align most with my interests. What I like about computer science is that there's low limitations into what you can create and it gives me a chance to express my creativity. Looking ahead, I plan on attending NJIT for computer engineering in their dual-degree bachelor's and master's degree program to become a software engineer. A few clubs and after-school activities I participate in are student council, arrays. I'm a member of national English society and rural English English society and I'm a student ambassador. A fun fact about me is that I love to bake but the only thing I ever successfully made was packaged brownies. I want to thank my family for helping me through the challenges that I faced in high school and for always being proud and supportive of me no matter what I did and pushing me to success.


I named the title of my talk, Owning It. I just thought it was kind of a funny phrase to turn around, but it has a couple of important meanings in terms of type design and intellectual property. So to break it down, the first meaning is the literal ownership. So you're making this thing, who gets to own it? In lots of cases, the fonts are proprietary to the client. But in many others, there's a period of exclusivity after which type designers can release the work. And the second point, and you hear this a lot these days, especially with custom typefaces, is the idea of ownability, point of differentiation between the typeface that a company is investing in and all of the other options that are already out there. And the third is the kind of tongue-in-cheek owning it, just kind of taking pride in what you've got, not apologizing owning it. So for those three reasons, I thought it was a good topic. Ownership is an important topic in this field. So I'm going to break the talk down basically into two sections. First, some history, which is a little new for me. I'm usually just showing my own work, but I thought this was a great opportunity to dive a little deeper and look at what the history of custom typefaces really is. And then afterwards, I'll just talk about myself for a little while. So I'm not a type historian. Steven, if I get anything wrong, just shout out the right date or correct me. So these are really just, it's a personal history. These are projects that have influenced me and that are meaningful to me. So the first one I want to talk about is Peter Barons and the work specifically that he did for AEG. He was a German designer, came of age right around the turn of the 20th century. A lot of his early work was very influenced by Art Nouveau. So this poster here, or this is actually the door to his house, which he also designed. He was also an architect, an engineer, a product designer, the father of German industrial design. These are all in the collection of MoMA, no big deal. But as a graphic designer, you may be most familiar with this, his logo for AEG, which is the, I'm gonna butcher this, but Algemein, Elektriz Zittatz, guess I left the shaft. They were a company in Germany and Berlin that made electrical equipment, air turbines, as well as consumer goods. And Peter Barons was the designer behind all of their really great work. The company was founded in 1883, sold to Daimler-Benz in 1985, but a lot of this work is still around, including in the collection of MoMA. So the work that he did for them, and this is one of the most beautiful examples of the identity program, not only is he the father of German industrial design, but also this is the first corporate identity program in terms of consistent, easily recognizable brands. It wasn't always like this, and it was really groundbreaking to have this consistent approach for illustration, this consistent look of typography. And so he was not only coming up with that system, he also drew the letters, we're led to believe. It's not totally clear, but I did some research prior to this, came across what appear to be his drafts of the lettering and the way that they were used. So these are a lot of the advertisements, the posters that were used for AEG. He was also a published type designer. So this is Barron's Scrift and Barron's Antiqua, which were both published. And he designed this factory. Actually designed the entire building, as well as the lettering on the front, and that lettering on the facade, apparently still there in Berlin today, and it's beautiful. So that's really the first custom typeface for a corporation, as well as the first corporate identity that I'm aware of. Would love to hear any others if people know of them. The next project that I want to talk about is Times New Roman, which was produced by Monotype. And the story goes, in 1932, the London Times underwent a design. And while this wasn't the first custom typeface for publication, that distinction appears to go to Century Roman by Lin Boyd Benton for Divini Century Magazine. But I've chose to focus on this because it has a much brighter story. So Stanley Morrison, the type director, I'm not sure what his position was, for Monotype commissioned this and worked with Victor Lardent at the Times, who was a designer artist there, to produce the letters. And what we have here on the left is the existing typeface that they were using for text. And on the right is Times New Roman. Times had a larger X-height, sharper details, narrower proportions, and was apparently inspired by Monotype Plantin, which was a 1913 release. But to modernize, and part of this is just a Times New Roman bias, because we've seen it so much, on the right feels a little strange as a newspaper face. On the left, this is a bit, maybe we've just returned to form more of what we expect as a newspaper face, although it's a little bit wide. It's not so different than Imperial, the typeface they used for the New York Times, for text. And this was the first usage in 1932. You may notice there's lots of drop caps, apparently no headlines. I was surprised to see this, but this is what's shared on the Monotype site as the first homepage. And then they published it in 1932, or actually I'm not sure when they published it. The commission was in 1932. It went on to be the most successful metal font in Monotype history, and that's the end of the story, or is it? In 1994, Mike Parker, formerly of Linotype, produced an article with a radical claim that no, Stanley Morrison and Victor Lardin were not the originators of Times New Roman, but rather it was this guy, William Starling Burgess, who designed it in 1904, and almost 30 years prior to that commission, and somehow was erased from history. A little bit about Starling Burgess, he was a yacht builder, a poet, an aviation engineer, and a type designer. So similar to Peter Barron's, very accomplished in all these different areas. The way the story goes is that, I'm not sure his first name, Giampa, who was a colleague of Mike Parker, found evidence of, he purchased Lansing Monotypes Archive in 1987, found evidence of this, and shared it with Mike Parker. They worked with Matthew Carter to digitize it. That's what we see at the bottom here is a digitization of the only existing evidence of Lansing 54, which, as the story goes, went on to become Times New Roman. But the whole story is wrapped in mystery and unfortunate circumstances. The evidence of Burgess's drawings were lost in a fire in his factory. Giampa's documentation was lost when his house flooded. The only known printed records of these drawings is at the Smithsonian, which is now quarantined for asbestos contamination. So it's just like this thing where no one can really know what it is. All we have is this very lengthy article that Mike Parker made. So here it is, one Roman wait, a sketch of a few italic characters, but there is some additional evidence which points in the direction that this could be a true story. Monotype pitched the typography for the launch of Time Magazine in 1923, and Lansing 54, this, you know, the Burgess design was used. And I forgot to say, so Burgess submitted his design to Lansing Monotype, and that's how it became something they were using. His article is exhaustive in detail. Here we've got, you know, and these four lines plantain at the top, and then Lansing number 54, then the design that was made for Time Magazine, and then Times New Roman. And to look a little bit closer, focusing on the second and the fourth line, the Lansing, the Starling Burgess, and the Times New Roman, these things are almost indistinguishable. The details are incredibly close. Lower case as well. And as I said, it is a huge article. I'm about a third of the way through it, but you know, I'm gonna keep going, read it before bed. You know, there's no definitive proof. Monotype denies it. It's possible that Parker made all of this up. He could have just been a merry prankster, but geez, what a lot of work to put forth this story. Anyways, it's a fun backstory for this font, but the reason that most of us know Times New Roman is because it was packaged with Windows ever since version 3.1, and it became the default font for Microsoft Word. So up until 2007, it was, oh, you can't see the gray background. It was the default font. And so that's why we have all of these legal briefs, resumes, menus and restaurants. It's just everywhere. And so, although the design itself has merit, it's not a poorly designed font. We're just so habituated to it, and its use has been so mediocre in terms of this undesigned presentation that now we're just immune to it, and it doesn't even feel like a designed typeface anymore. But don't worry. Both Callathon and Font Bureau have released their own revivals of Starling Burgess' designs. On the left, this is Burgess. By Callathon on the right, Starling by Font Bureau. So happy ending to the story. We get to talk about them 100 years later. The next project I'm gonna talk about is Edward Johnston's London Underground, which really is the first, as I'm aware of, the first custom typeface for corporation in the sense that we think of in terms of a consistent font that was used systematically, whereas AEG was really a collection of letters that were employed in different illustrative ways. So along with Rudolf Koch, Edward Johnston is considered the father of modern calligraphy. He was truly a master of the written form, and he worked with London Underground. Prior to his commission, this is what their communications looked like, very inspired by the arch and crafts movement, and he wanted to make a sans-serif typeface that would reflect the modern age. Certainly wasn't the first sans-serif typeface. That distinction goes to Caslon from 1816, followed later by Figgans in 1832, and a whole slew of other sans-serif typefaces. But what makes Johnston Underground special is that he really married the rhythm and the craft behind calligraphy with this geometric sans-serif design. And he wrote extensively about his ideas about these things. This is a diagram of his thoughts about the way the sans-serif letters should be constructed. This is the draft of Johnston Underground, and lots of nice little notes in his perfect penmanship in the middle. And a later production drawing of the Underground Roundel, which became the symbol for the Underground. And after this program was, after sort of being used, these are the sorts of illustrations and consistent use of typography that the Underground was employing. So although to us, this still feels old fashioned, it's quite modern in comparison to the arts and crafts posters that they were using previously. Just a couple of other examples of the font in use. This is one of the first London Underground maps of this design by, I'm not sure his first name, Beck, in 1933. And just to look at the evolution of the Roundel over the years, in the middle, that's his actual Edward Johnston design. It was redesigned several times since, but it still includes that element of his original design. Still in use today, including in this beautiful image here. And Johnston wasn't commercially available. And so, as I'll mention next, Gil Sands ended up becoming much more popular and used in some places. So Eric Gill, a student and colleague of Edward Johnston, experimented with an even simpler design and that's how we ended up with Gil Sands. This essay is talking about the apparent benefits of Gil Sands over Johnston Underground and that's debatable but we certainly see a lot of Gil Sands these days. Two books that I would recommend, if you'd like to learn more about Edward Johnston is that his document, formal penmanship on the left and then a great book that I just picked up about Johnston and Gil by Mark Ovindan. Another project, this is the last custom font history lesson that I wanna talk about and it was really a special or an important one for me as I was starting to learn about graphic design, which is the mobile oil program by Tramai I think Geismar. So prior to their redesign, this is what the mobile ads looked like you know and they, sorry, the Tramai I think Geismar design took this very geometric approach to the letter forms and it was inspired by these designs by Elliot Noise. He designed, he was a very prominent architect who designed the service stations with these circular forms as well as the fuel pumps that they were using at the time. The idea behind the mobile typeface was to marry the geometry of Futura with the even proportions of standard or as we know it accidents grotesque today. And the way it was applied was beautiful. It was consistent, clean, modern, certainly very stark indifference to the ad that I showed you just a moment ago. So this is the full alphabet and the numbers and unfortunately I couldn't find a whole lot online. These are some of the only images that I really found to document the mobile program. So I took a drastic measure that I would recommend to all students and I emailed Tom Geismar. I figured out what his email address was, I sent him a message and he wrote back to me and that's something that I've done quite a few times over my career and it's really paid off. The worst thing that somebody can do is not reply to you and you won't get 100% rate of return but in general designers are nice people and they will make time for you. So to students in the audience, I really recommend reaching out to people if there's something you wanna know.  So now we can supplement what I've previously shown you with a couple more images. This is from the very first presentation to mobile where they're showing how the program works, the application of the alphabet and it was a pretty novel idea, this sub-brand usage of a single typeface and then using the same font after the brand name to create these sub-brands. The first oil can designs, the way it was employed on the packaging and actually we have a copy of the original standards manual for mobile. So just a couple more images of that and this was the very first of the new mobile service stations, this was in Connecticut and not many of these are around anymore because in these days, they only had the one grade of gas so they were single pumps and then 20 years later, they worked with Elliott Noise again to create the modern service station which really hasn't changed that much ever since with the multiple grades of gas, self-service was now an option and all of that, I was able to get a little more information about the project just by reaching out to someone and it was a lot better than the images that I found online which still are using the font pretty consistently. So those are a couple of examples that have been important to me in terms of how Custom Type has been used throughout time. A little bit more recent examples, still very important. Most of us have heard the Port Authority bus terminal, this vernacular lettering is what inspired to Biosphere Jones to create Gotham which was originally used for GQ Magazine and then obviously has gone on to do lots of other things. A famous application was the Obama campaign in 2008. Another Heffler design from 2001, Archer, this was originally commissioned by Martha Stewart Living, was exclusive to them for a period of time and then was released later. One more example, the Guardian typeface by commercial type, Christian Schwartz and Paul Barnes. These are all examples of fonts that have found a home in a corporate or publishing usage that then, that gets developed, that gets supported, gets rolled out and then after a period of time becomes available to other designers. And I think there's real benefit in that that there's something sad about a Custom Typeface that's only used once. A brand can then go through a redesign and if the designer doesn't have any rights to it, that font never goes on to do anything else. So as designers living in the modern world with access to social media, you've probably been hearing a lot about some Custom Typefaces. The sad reality is that for a lot of companies, this is a financial decision. Enterprise licenses from some of the bigger foundries can be incredibly expensive. Not only in a one-time fee, but in an annual fee. So there's a desire to have custom fonts and there's also this desire to own them. This has resulted in a lot of companies commissioning Custom Typefaces and I'll show you a couple of notable recent examples of them. But the other thing I wanted to say is that, custom fonts have become even more important because our typographic world is just much bigger than it ever was before. When I first started designing fonts, print was really the only way that you were gonna use a font. Web fonts weren't around yet, let alone app fonts. Now there's even examples of fonts being used in virtual reality. The sky's really at the limit and there's just so many new ways that companies are interacting with their audience and Type is the primary medium for communicating with their audience. So this is TCC Unity, Custom Typeface for Coca-Cola by Neville Brody and Associates and it's a finely executed font. The one thing I wanna point out is that there's a problem when the marketing department gets ahold of your story and they start telling the general audience some details about the font. So we end up with things like teardrop counter follows the language of brand and liquid, whatever that means. I can kinda go along with the slice T evokes the hyphen but the Q looking like a glass with a straw, sure maybe they all do. It's just not necessarily that useful of a story to tell but I get it. I have clients, people love a story and that's really what can sell the idea through. When it comes to the marketing department though maybe let's fine tune the message a little bit. A bit better the way the Netflix sand story is told but still we're hearing about the cinematic curve and enhanced geometry. Not sure what exactly that means. These are well-designed fonts that are just explained in kind of a convoluted way. Airbnb just came out with their custom font. They went a lot safer with just describing tall, excite, open aperture call today. But the most recent, or actually not even that most recent, it was 2017 that it first came out but most notable custom typeface of recent news for me was this IBM Plex font by Mike Avink and Bold Monday for IBM. What's notable about it is not only its beautiful form but the way that they've chosen to make it available to everyone. So there's an open font license, you can download these fonts from GitHub, you can use them however you like and rather than saying these are ours and we're gonna own them and no one else can have them, they're saying these are ours and you can use them in new and interesting ways but they've been drawn in a way and thought of in a way that still makes them ownable to IBM in terms of the ideas. So it goes on to have another meaning but the IBM DNA is still there. All right, that concludes talking about other people and now I'm gonna tell you a little bit about some of my own work. So as James mentioned, my first font was a font called Router. I was living in New York at the time. In 2006 was when I first started working on it. It was a moment of inspiration in this subway station, 33rd Street and Park Avenue. As a designer living in New York, I had been taking photos of type for some time but on this particular day, I saw this sign and there was just something that caught my eye, this charming A with the tail, this eight that curved back on itself. A lot of details that I thought were really great and what made it seem fair game to me to use as inspiration for a font was that this was a piece of lettering. It wasn't an existing typeface although it appears to have been inspired by Helvetica or based on Helvetica. You can see that the ease and ejector and emergency are different widths. These have been done by hand. All of the other letters are slightly different. So I started drawing and at first, it was just getting familiar with the tools. I was working an illustrator at the time and I was incredibly prescriptive in terms of following the source material. I was really just tracing it. And this is in the days before Type at Cooper. I actually signed up for a class at Cooper Union, a custom typeface design class. The day before the class was to start, I received a call and was told that the class was canceled because I was the only person that signed up for it. And so similar to, deciding to reach out to Tom Geismar, I reached out to the instructor, a guy named Hannes Fomira. And for the next six months, I went to his apartment once a week and was tutored. He taught me the design program. We looked at proofs of my typeface and marked them up just as you see here. And that's really my introduction to type design. I never went to one of the graduate programs though I thought about it. I just learned by doing and just kept working and kept going that way. So at a certain point into the education in type design, I came up with this draft and it was a difficult conversation. But Hannes told me, you've made this font, you've stripped all the personality out of it. I could just use some other font that already exists and there's no reason for this font to be. Every font has to have a mission statement. There needs to be a reason to exist. So while that was hard feedback, it was necessary. It's something that I take to heart and I think about still. I went back to my source material and noticed that when the router was carving the letters out of plastic, there was kind of a stress point at the beginning and end of the strokes. So I made that the defining characteristic of the font. And so here's the final version of router and you can see that there are these swellings at the end of the strokes. And so that's what I made the font about and that's what gave it its special characteristic. There's also an italic and I did a full weight range. So I published that in 2008 and not too long after was pleasantly surprised to see that people had started to buy it and this was the first big usage of router for the MinuteMade redesigned by Duffy and Partners. And it's not super prominent but it's on there, orange and 100%, that's the font I drew. I was happy. And as James mentioned then, not long after, it was included in this design exhibition at the Walker Art Center and then at the Cooper Hewitt National Design Museum. And around the same time I got a call or I was getting emails one morning, pick up the New York Times on a Sunday and it had been used in a special education issue of the New York Times. So as a graphic designer, I wasn't working at top agencies or doing work that was getting national exposure. And suddenly as a type designer, I had found something that I enjoyed more that was opening more doors for me and was starting to get visibility on a different level. So for all of those reasons, it started to feel like the right thing for me and I really went even deeper in drawing more fonts, starting to get some custom work and then eventually firing my graphic design clients, which was great. So next I'll show a couple of my custom projects but my early custom projects, I was fortunate to get to work with Michael Beirut on the nuts.com typeface, which was a great experience and doing some other logos. James mentioned on Twitter today, I did the craft logo a while back, I did the Etsy logo. And those were important landmarks for me of starting to fill out my portfolio with some bigger recognizable work. But one of the first big projects in terms of the number of components, the visibility and the importance that meant a lot to me was when I got to start working with Adidas. Excuse me. So Adidas has been using Audinoya, their brand font ever since 2011. It was initially designed by John Carlos Casasin for Sid Lee's All In campaign and it existed only in lowercase in three weights. This is all there was and I had worked on a small project for Leon Emus, creative director in Portland for Adidas previously. I'd worked previously with him. And so he called me and wanted to fill out the family, do some other weights, do some metallics, do a condensed and do some uppercase characters. So I jumped at the opportunity, an initial way that I looked at it was what is the information we have here from the lowercase, some characters that immediately relate in terms of their construction. There was also another Adidas font by Tal Lemming called Dribbler that was used in basketball. And that served as information for a lot of the proportions and the forms in the uppercase, but there was still lots to fill out. In the end, there were now four weights of Audinoya that also had the uppercase, pretty extreme italic, which I haven't seen used too much, but I'm sure they'll roll it out at some point with 16 degree angle, condensed styles and a full character set that included a lot of alternates. They wanted the avant-garde left and right leaning AMVW. There's some narrow caps, some wide caps. And then in the numbers, there are a couple of alternates and then a condensed set of numbers that also have additional alternates. A little bit later, I added some additional weights, Crazy Light and Ultra Black. I was working with a developer at the time and he said, I'm not sure Crazy Light is really the best name for it, but it's actually an Adidas product. So there was a tie-in for them. And another aspect of the Audinoya Profants were some ligatures. A source of inspiration for the ligatures was the mountain or the badge of sport, the three stripes mark. Using that as this way to slice into the other glyphs, let them compress the message, make something that feels a bit more like sport to them. So this is just a fraction of the ligatures. These are just the A ligatures. So it goes on from there. But the very first usage was this there will be haters campaign. And it was pretty great to see it used prominently, looking pretty good. So I was happy to be working with them. Just recently for the Pyeongchang Olympics, they were using Audinoya Pro with the ligatures. I don't know if you can see, the Germany has many ligatures, the R, M, the M, A, the A, N. And can anybody tell me who this gentleman is in the, you know, the older gentleman here? Anyone know? His name is Frank Wolter Steinmeier and he's the president of Germany. I felt very ignorant to learn that Germany has a president. I thought there was just a chancellor. They also have a president. Apparently his role is not as prominent, but very important in his own way. One last image of Audinoya Pro. It's always fun to encounter the work out in the world, out in the wild. This was a particularly ironic usage where the message is destroy order and we've got an upside down S. No semblance of a baseline. Just a complete lack of order here. So Audinoya Pro was great. It was great to be working with Adidas, working on something that was being rolled out worldwide and used prominently. But what was even more interesting to me was when they reached out and wanted to work on something that was really drawing something from scratch instead of working with somebody else's intellectual property. So these were some sketches they had done. They wanted an athletic octagonal sands, particularly for this Adi Zero line of products. And wanted to work with me to develop that idea further. One initial source of inspiration is this United States Air Force font, which is used for identification on the aircraft. It has the octagonal shape and some really strange proportions, some pretty unique design details. In the design process, I tried to include elements from their first sketch. So the kind of strange R shape at the top, these Zs with asymmetrical joins. And also looking at, do we do the octagonal on the inside of the shape or not? Another important consideration they wanted. I don't know if you guys can see, but we're doing these facetings. So on the left, there's no faceting on the interior shapes. And then we're adding these little 45 degree moments, which just adds a little bit more visual intrigue when you're using this larger. We ended up going with the interior faceting, but figuring out exactly what is the radius of that and not doing the exterior faceting. So same way, weight range as Adanoia Pro. And I thought it was great. Here we go, another font, but then they wanted to do some more. So this was the full character set. And Leon had been talking for a long time about making a special extension that would let them choose from lots of different widths and weights of fonts. This was before variable fonts, really existed. So I did a sketch for them and he said, looks great at the top, love the condense, but can we make the wide go like three times wider? Which I thought this was already pretty wide, but I said, okay, sure, we'll go just a little bit wider. And so that's what we did. We've got, this is called Adanoia Chop. And so full character set on all of these and quite a wide range of weights and widths. It looks pretty great when you mix and match them and it really goes from pretty narrow to pretty ridiculously wide. And if you understand what variable fonts are, it allows you to drag anywhere in between the different positions from any of these masters. And the reason that's important for Adidas, sometimes variable fonts are just giving people too many choices, but what they really wanna be able to do is fill any space with typography. Another big part of their business are these uniforms for colleges, for professional teams, where they need to be able to use a templated system and fill that space with either the number or the team name, the player's name. So this becomes a tool for them. So I'm gonna leave the safety of keynote for a moment and show you a special tool that we made. Which, so in Illustrator, oh, you guys can't see that. Sorry, I need to, I'll just, here we go. All right, sorry about that. Let me bring these things over. Okay, so this is Adanoia Chop, variable font in Illustrator. You can change the weight, any weight you want. You can change the width, but what's really fun and is this custom plugin which will fill the space with the widest version of the font available. So this was built by Kenneth Normandy, a developer in Vancouver I've been working with. So you just hit the button and instant design. You know, it becomes even more interesting if you start mixing the weights around. Not easy to do behind your back. Yeah, so it's a special tool that lets them access the fonts and use them in a way that works for them. Of course you can access the variable fonts natively in Illustrator, but it just becomes a little bit more unwieldy to go back and forth in this drop down and also if you have multiple fonts, you're not allowed to edit them together, whereas our tool will let you change all selected text together. So that's that. And I'm gonna come back to Keynote. All right, next project I wanna show you is a collection of movie fonts that I've worked on for Pentagram for Emily Oberman's team. The first one that I did, I hesitate to show this because there wasn't that much involvement for me, but it's part of the story. So I decided to show you. Is this Fantastic Beasts font? They had basically crafted the whole alphabet and just looked to me to improve some of the proportions, make it a typable typeface. As you can see here it's extruded in some sort of mercury glowing metal, but it was a great project in that it was used prominently, rolled out worldwide. There were all these international versions of the logo and it led to some other projects that I got to do with them. The first of which was Justice League, which was the movie that came out last summer. So they had done the logo at the top and then asked me to interpret that as a full typeface. So the first thing I did was kind of an analysis of the font or the logo as it was and notice some inconsistencies that work as a logo but then start to cause problems if you look at it as a typeface. So you can see in the pentagram logo at top the use in Justice and League are different widths and that's because they're justifying this as a lockup, in a vertical lockup. So I just made those things more consistent and in terms of the design process, looking at options from top to bottom. Do we go a little bit wider or from left to right? Do we go a little bit heavier? Looking at a range of character styles for some of the specific characters, trying to use the diagonals as much as possible. So in the B and the R in that second line and then selection of the M's and N's. And I'm glad that we did go with the default. It just creates kind of a more of a superhero vibe rather than the more traditional M and N at the bottom. So this was the approved character set and then we also worked with Ksenia Summerskaya on a Cyrillic. And this is the way I like to talk about additional scripts because I don't know what these characters are. I can evaluate them as forms but when I'm having a conversation with the designer I don't want to say. It's the W with like a little tail at the bottom or it looks like an X but no, there's a T and it has an H connected to it. It's much easier to just say number 47. So this was rolled out and there was a great You Can't Save the World Alone campaign using the fonts and just saw this recently. So this is the Daily Show and they've parodied the logo for the Mueller investigation and they actually used the real font. So this intrigue, it's the real end there. I'm sorry for showing you his face but I wanted to show you the Daily Show. And one more movie font. Just recently I worked with them on a font for Harry Potter's or J.K. Rowling's Wizarding World. The idea behind this was marrying the two type styles of the Harry Potter logo which has these lightning bolts and kind of crooked little diagonals and then Fantastic Beasts which has these beastly barbs and hair and beastly little moments in it. It was actually a really straightforward design process. I just showed them looking at the sketch they had done, how we're gonna handle some of these small details in terms of what are the angles on the C's and the S's. But from there it was really just filling out the character set and then working with them to develop the special illustrated versions of the caps. The client ended up killing this part of it. They thought the lightning bolts were too much so that was the only real edit was getting rid of the lightning bolts going to a bit more consistent on the K, V, W, P so lightning bolt, no lightning bolt. And I don't have too many images of this in use so I'll just show you a couple images from my Instagram. These are a bunch of JK Rowling's Fantastic Beasts, the different words she comes up with for the different animals in her universe, just a lock up of the inspiration and we actually named the font Harry Beast. Harry Potter, Fantastic Beasts and I think I have to actually click on these for it to start. There you go. All right. Two more projects, almost done here. But a big one for me was American Express, working with Pennegram, with Abbott Miller's team, also with Andrew Walters and Kim Walker. And this was an important project for me. From the initial brief, the problem was American Express, this iconic brand, has a bit of an inconsistency problem. So there's the blue box lettering, which is this kind of Euro style outlined type. And then there was the out of the box type, which really had nothing to do with it. It looks a bit stretched, it's got contrast in a way that the blue box type didn't have. So the most important thing was creating a consistent lettering style that can be used for both. So we looked at a range of options, a narrow range, but a range. So something with a bit more of, not humanist, but more of a constructed grotesque approach at the top. In the middle, something very close to the blue box lettering as it was. At the bottom, something more of a geometric construction with the 90 degree terminals at the bottom. We ended up staying pretty close, but looking at, if we do outline the type, how does it work outside of the box? Is it just the regular sensor font, or do we use some sort of outline, some sort of bar system? In the end, this is what we did just for the out of the box font, or the logo, out of the box logo. And there were some details in it that I thought worked out well. It was a challenge to make that CA ligature, not call too much attention to itself, but it was really a bit of a, it was something that the client absolutely wanted. And Abbott had the great idea to include the C angle on the S's at the end of Express, which just dresses it up a little bit, creates a bit more intrigue in that part of the mark. But one of my favorite parts of the project was this shorthand, what we called magnify version of the logo. So these were two versions that we were presenting. In the end, we went with the one on the right, mainly because the client wanted it to read like an abbreviation of American Express instead of this new word, AMEX. So while there's something formally very nice about the one on the left, the one on the right worked better for their needs. Then working on the blue box, we looked at a range of options, including keeping the outline, doing something that were just bars, or rather even removing the outline, but it was something that was important to the client to maintain. So the next step was, okay, if we're gonna outline it, how exactly are we gonna outline it? The difference between the left and the right is really just the amount of divots that we included. On the left, we've really removed any sort of extraneous detail. And on the right, there's lots of little details, even around at the bottom of the S. So what we ended up doing was removing all of the small ones, but some on the right were still important, including at the bottom of the R and the shapes around the C. So this is where I thought we had basically solved all the problems. Let's deliver the files. Everyone's happy, but it ended up being an interesting project in terms of the way that we solved the problem for delivering optical sizes for the font or for the logo. So I came up with a system. We're looking at the blues and the whites in the logo. Well, how thick is the blue? How thick is the white? So in this grid, going from left to right, I'm increasing the blue weight. You can kinda see the blue is thinner on the left and heavier on the right. And then increasing the white. So the white is thinnest at the top, heaviest at the bottom. I thought, let's show this and pick one and then we'll move on to the next optical size. But it ended up being a process of refining, just zooming in and then going even further. So I have these numbers at the top, 166, 169. So then what the process ended up being was, okay, then let's look at 164, 165. And I show these just because actually I think they're beautiful. It's really cool the way that they ended up marking them and writing these little notes like yes. It started to get even more fun. And then I knew we were getting close when we started circling things. So in the end, this is what we delivered. There's three optical sizes for this mark and the point of an optical size is that they all look the same. But if you look at the smallest one and the largest one, side by side, there's quite a bit of a difference in terms of the weight of the white, the weight of the blue. And there's some thinning moments that happen, especially in the M on the left. So these are compensations that we do to make it perform correctly. And then this magnified logo, it needed to work at very small sizes, social media icons, just very small places. So the compensations were even greater for that. You can really see the difference between the outline on the left and the right. It's basically one to one in terms of the white and the blue on the left. So this rolled out just a couple of months ago and I couldn't have been happier with the way that they used all of the assets. I really want that pencil. And I can't wait to get a card. All my cards still, or I guess I just have one, but it still has the old logo on it. So soon enough. After it rolled out, it's always fun to read the comments on brand new. The one thing that I learned that was super interesting is that George Nelson, apparently, did an American Express logo in 1961. This is what we see at the bottom. I did some research at the time, but I lost, I missed that detail. So it would have been fun to reference that, but here it is just to share. Now I'm gonna respond to a couple of comments directly. Why not just going this way? Great point, we tried it, didn't work. Worked so much better. Again, I already addressed this, client didn't like it. But here, you've got a point. I see what you're saying. So in the end, it's not worlds away, but it does work quite a bit better. There were lots of really bad little shapes in the previous mark. It didn't work at larger sizes. And the thing that I'm really happy about is this out of the box mark. I think it just really, it shines on its own. They're using it large. They're using it really nicely. So one last project that I wanna share, which just launched last week, is for Ogilvy. And I did this for Collins, New York, working with Brian Collins, Tom Wilder, and Brian Akersky at Collins. And then actually we have here tonight, Graham Bradley, who helped me with one of the fonts. And Douglas Hayes also helped with one aspect that I'll share a little bit later. So Ogilvy, as you may know, Ogilvy and Mayther is an ad agency. It was started in 1948, something in New York by David Ogilvy, a British man who then opened offices around the world. He's really considered the father of modern advertising. And this was the version of the logo that they had used for some time. It's a custom version of Baskerville. He was apparently very fond of Baskerville. So that was, going in, we knew that that was an aspect that they wanted to maintain. Some reference to Baskerville would be honoring his legacy. But more recently they were using this signature mark, which had some semblance with his actual handwriting, but there was a desire to move past this to kind of a return to form. And what was really important in terms of the launch was that Ogilvy had all of these, it's a huge company with, in 30 countries, 150 some offices, 15,000 employees, and all of these different marketing companies, different service bureaus that they had. And they wanted it all now to come under this Ogilvy banner. So initial research, just looking at the Baskerville source material, they had a custom font that they had been using by a storm called Ogilvy J. Baskerville that was incredibly well-drawn, beautiful font, but felt a bit old, just in terms of looking back towards history. And something that was really important in this project was looking at history, but also having something that was undeniably contemporary. One initial sketch that I did, because there was some mention of maybe there's a sans and a serif was just coming off the Adidas project, I thought, well, what if we make this blending tool between a sans and a serif? There was some interest, but it didn't really go anywhere. What really caught fire, though, was this sketch by Brian Okarski of the Ogilvy mark, which had some aspects they really liked, particularly this idea of connection. As I mentioned, the companies being reimagined as one single Ogilvy, it had special meaning for them. So my process in terms of seeing this mark and trying to bring some typographic refinement and lead it towards what would work as a final logo was first to look at just evening out some of the proportions, the weight, refining some of the curves, and then looking at some different options like, do we have some sharp details in the terminals? Do we maintain this kind of wild swing at the bottom of the G, or do we go to something that's a bit more sober in terms of almost a horizontal on the G? What we ended up doing was somewhere in between, there's still a little bit of a swing on the G bowl, but most of the drama is in that ligature with the GI. My design process, looking at the Baskerville source material, we looked at a couple of options for the terminals at the top. They really liked this sharp and round play, going much sharper on the details, like on the C in Carson than Baskerville does. There were some parts that I was a little uncomfortable with like the F and the J, but I've learned to just leave some of these things in there and pray, hope, know that they'll get resolved as the project moves forward. So we ended up with something a bit more like the F and J with the ball terminals, but maintain some of these sharp details, like on the tail of the A. For the italic, looked at source material. I've always really liked the steep italic of Jansen and the kind of play between these different angles in the lower case. And then this resort specimen had some really great details in terms of these like really strange hooks that go into the lower case characters like the M and N. So that was an aspect that we used, especially in the lower case, trying to create a form that reflected that, but worked with the Roman. We looked at a range of options, including from second line, symmetrical hook serif, so the top of the U and the bottom of the U are doing the same thing. At the very bottom, a Roman style serif, so it's doing the same thing as what the Roman does in terms of that top flag serif. And what we ended up with was something somewhere in between the second and third option with it still has, it's not completely flat, but it's not symmetrical with the bottom exit stroke. These are just a couple of the different alternates that we looked at, which is just part of the process of figuring out exactly how all of the system works together. And just one note about how this project came to be, Tom Wilder, creative director at Collins, thought of me for this project and had the idea, why don't you come out to New York, we'll spend a week and we'll really treat it as a boot camp and rapid prototype, make as much of this stuff as possible. And I really jumped at the idea. It was a great experience of seeing how they work, being able to see the work in use in real time and adjust pivots and make corrections and I think make the work even better. At the same time, they had a competing design direction and I couldn't help but get a little bit competitive and see they were using this sans serif and I thought, oh no, the client's gonna choose that one and then they're not gonna want a font. So I actually stayed up almost all night and just pounded out a draft of a sands that they could use in the presentation and when they chose the basket of the option, they ended up wanting the sands too. So there's always an opportunity to sell something in. Just some of the alternates that we looked at in terms of designing the sands and I may lose you on this next slide, but it's a very subtle tweak here. We just started to think the serif has some very clear special attributes to it. We don't want the sands to just feel like any other sands. So there were some very fine proportion shifts going back and forth, just like making the H-E-F-L a little narrower, making some of them a little wider and it might not seem like much here, but when you're actually laying it out, when you're actually testing it, it ends up feeling different. It doesn't feel as familiar as another font and that made it for them a little bit more ownable. Last few slides here, we made an italic for the sands. The serif italic is 22 degrees, which is pretty steep. It looked ridiculous when we did that with the sands, so it's a bit more conservative, something more like 17, which is still pretty steep for sands. And last few details on this, there's also a monogram font that for some reason I keep doing these, let's do ligatures or monograms. I'm not sure exactly how they're gonna use it, but this was the design process in terms of looking at how the system works and then crafting all of the monograms. So whatever your name is, if you have hyphenated name, maybe just choose the last two names, but we didn't do the three monogram because that just gets exponentially larger. And this is what Douglas Haley's helped me with. So in the end, we've got the family. I'm really proud of the light. I think it does something really nice for the serif, for the sands, and the logo. And what I think really makes this project shine, Collins is fantastic at executing the design concepts, using it in the real system and presenting the work in terms of the way it's photographed. The colors are fantastic. And I just really couldn't have been happier with how the whole thing came out. Some books and Oklahoma offices. And I've got one last slide here for you, which is really just type born. Here's the monograms. And in terms of ownership, this is something that I retain the rights to. So it will become a public release at some point. So I hope you guys enjoyed this. I wanted to share a little bit about the design history as I understand it, the way that I think about approaching these projects and then showing you a few of my recent projects. Thanks a lot.