The Landmine Impact Survey project was launched as a result of the signing of the Mine Ban Treaty in Ottawa in December 1997, whereas it became very clear that the scope and impact of the worldwide landmine problem needed to be defined and quantified. To meet this need, the Survey Working Group (SWG), which consists of leading international NGOs in mine action, such as the United Nations Mine Action Service and the Geneva International Centre for Humanitarian De-mining, created the Survey Action Center (SAC). The SAC serves as the operational arm for the SWG and as the coordination point for Landmine Impact Surveys.

The purpose of this project was to summarize the results of a socio-economic study by the SAC on the effects of landmines and unexploded ordnance on communities in Afghanistan. The report was developed for use by the government of Afghanistan in their efforts to eliminate landmines.

Success on this project required TriVision to address the local language issues and translation nuances. For example, because some of the English abbreviations did not translate into Dari or Pashto, creative means had to be developed to communicate this information. Furthermore, in order to maintain consistent design layout between the English, Dari, and Pashto versions of the books, TriVision’s graphics team had to overcome many software inconsistencies that occurred throughout the process. In the end, the final binder was finished and delivered to the Survey Action Center in accordance with their requirements. TriVision is proud of the effort and time put forth in completing this project.

To read the English version of the Landmine Impact Survey, please click on this link:
http://www.sac-na.org/pdf_text/afghanistan/AFG_ExecSummary_Engl.pdf

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It’s All About the Fonts

According to typographers, typefaces are like clothes for words. Letters can say nearly as much about a person as the words they spell out. And with the computer age, the message conveyed by a font is no longer subliminal; it’s overt.

There are many meanings attached to each typeface. For example, typefaces with big round O’s and tails are considered “friendly”, whereas linear fonts evoke overtones of “rigidity, technology and coldness.” On the other hand, a tail on a lowercase “a,” serif styles conjures images of “trustworthiness,” whereas uncluttered Sans Serif styles carry much less emotion.

Aside from color and composition, choice of font is one of the fundamental and basic principles of graphic design. A font can also be used for less readability and more as an artistic form. The negative space, color and other graphic elements form the relationship between the font and images. The theme for a branding package can alter completely based on the font choice of the design.

The choice of fonts for a marketing material depends on the type of audience and the realm of subject matter. A composed font should be refreshing, visually appealing and serve the right audience. The font layout, the color and the interplay of text with color combined with other graphic elements, create the "feel" or the experience of the subject matter.

It is evident the significant role typefaces play in branding a message or advertisement, thus it is appropriate to assume that no one can underestimate the power of an effective font to set the tone and message in a marketing campaign.