Making Makers in Your Community Makes Sense

By Sue Walker, Library Consultant – Idaho Commission for Libraries

This article shares information compiled for a presentation at the 2015 Association for Rural and Small Libraries. The presentation focused on making activities in rural libraries and was developed to document how libraries are incorporating the maker culture into their programming and to demonstrate that making does not require large budgets, spaces, or numbers of staff.

Because STEM has been emphasized in making through Idaho’s “Make It at the library” and Montana’s “Montana Makers” projects many of the respondents had worked with Science, Technology, Engineering, and Math (STEM) tools and programs.  However, respondents also shared information about other making programs that demonstrate the variety of ways making can enhance programming, attract different audiences to the library, and allow the library to address an unmet need in its community.

The following information is taken from the two page executive summary.  The entire document linked below provides detailed analysis of the information gathered and shares specific programming ideas that have been successful in libraries in Idaho and Montana.

Background: Making is a hot topic in many educational organizations, including libraries.  For rural libraries, new trends raise concerns about staffing, programming, and funding new initiatives when staff may feel overwhelmed by current program needs.

Staff from the Idaho Commission for Libraries and the Montana State Library developed projects to introduce the making concept to libraries.  Cara Orban, Montana State Library Statewide Projects Librarian, and Sue Walker, Library Consultant at the Idaho Commission for Libraries, collaborated to develop a better understanding about making in the two states’ rural libraries.

Methodology: Library staff in the two states were invited to complete an online making survey which focused on the following topics: materials, training, space, partnerships, cost, and programming.  Follow-up was conducted to elicit more specific information on some questions.

Staff from two libraries in each state were interviewed to highlight their programs in more detail. The information is compiled in an electronic document that contains the survey questions, each library’s response to the survey, the full responses from each of the four highlighted libraries, and summaries of responses to each question.  The survey is arranged by library size to allow libraries to identify libraries of comparable size if desired.

The full document can be accessed here:

Respondent overview:

  • Response: 35 individual libraries: 28 public, 2 school/community, 4 high school, 1 middle school. In addition, 4 library branches from 3 different library organizations submitted responses, and staff from 4 libraries submitted more than one response.  All submissions are included in the electronic document.
  • Respondent demographics: Library size was determined by the number of cards issued for public libraries, and the student enrollment in school libraries. Libraries were segmented into the following categories: <5000 card holders, 5000-15,000 card holders, > 15,000 card holders.

Survey findings:

  • Materials: A large variety of materials are used in making. Since the Montana State Library and the Idaho Commission for Libraries provided materials to libraries in both states, those types of materials were the most commonly listed.  STEM tools currently are generating interest, especially newer tools such as 3D printers. However, the materials listed include everything from construction and deconstruction, textiles, photography, robotics, circuitry, and tools to create music and movies.  The type of materials used depends on the community’s needs.
  • Training: Most of the respondents had received some formal training as part of the projects sponsored by the two state agencies. This training was supplemented by hands on experimentation and learning from others. Training needs expressed focused on better knowledge of STEM topics such as robotics, engineering, and 3D printing.  Respondents also noted ways to better incorporate the tools into programming would be useful.
  • Space: More than 50% of respondents do not have a dedicated Maker Space. Meeting rooms, teen spaces, and other library spaces are used as needed.  Space components most libraries listed: tables, computers, shelving, and access to electricity. Space components depend on the tools used. Access to the space used for making varies widely. An equal number of libraries provide access whenever the library is open and only when maker programming is occurring. Most are as flexible as space and other programming allows.
  • Partners: Partners are an integral part of making. 100% of respondents listed at least 1 partner, two thirds listed 2 partners, and 11% listed 5 partners.  Partners included trainers such as teachers and professors, musicians and artists, and volunteers to help with activities. In-kind partners provided supplies, refreshments, and publicity.
  • Cost: Initial cost depend on the types of materials purchased, and many libraries received tools from their state agency. 25% of libraries estimated the initial cost was less than $1,000.00 and 70% less than $5,000.00.  Comments focused on the ability to start small and add tools as needed.  Several libraries used grant or gift funds or received material donations.
  • Programming: Many respondents had access to STEM materials provided by the state library agencies and used these resources with teens and other audiences. 3D printers are a big draw-even if participants are not designing or printing designs themselves.  However, other programs such as knitting, construction/deconstruction, and circuitry are also popular.  Programs that were initially designed for teens and tweens have expanded to include other audiences.
  • Program goals and achievement: The reasons for incorporating making into library programming are diverse, but all focused on providing more access to different resources to a variety of audiences. Most respondents feel they are slowly reaching these goals, but the progress is slow and varies from library to library.
  • General comments:
    Comments covered a variety of issues and should be reviewed in their entirety. General themes and accompanying comments:

◊ Don’t be afraid or intimidated
Don’t be overwhelmed just take baby steps and it will all come together.

◊ Start small and build from there
Start small and do it. Watch tutorials online, experiment and get your hands dirty. Try everything first; that will help ease fears and don’t be afraid to make mistakes.

◊ Don’t try to do it alone-need staff support and partners
Staff must be interested and excited about the activities they choose to offer to the public. There are many activities and a library may choose some and leave other activities for partner organizations to offer outside the library. The library should be open to having guest instructors who are experts in their field. If a volunteer will help in the lab as a regular instructor or mentor, run a background check on that person and provide them with a “volunteer” name tag so they are perceived as official.

◊ Making is a culture which requires community involvement
The community that you are serving should guide the programming that is provided.


Tech Tools – What the Font?

EllieWelcome to (or back to) Tech Tools, a regular column of The Idaho Librarian devoted to informal discussion of practical technologies. As always, I welcome your comments, ideas, and feedback on this post or other technologies you would like featured in this column.


Microsoft Word 2013 includes 67 fonts, which seems like enough for any one person in a lifetime. But that number doesn’t even scratch the surface – in 2012 there were over 90,000 typefaces available for download, and that number is growing daily (Yves). It’s amazing to me that there could possibly be 90 variations of a single, recognizable letter of the alphabet, much less 90,000.

the letter q
14 variations of the letter Q. From L to R: Agency FB, Calibri, Calibri Light, Antique No 14, Arial Rounded, Baskerville Old Face, Bebas Neue Regular, Bernard MT Condensed, Bell MT, Dekar, Californian FB, Century Gothic, Century Schoolbook, Myriad Pro

What is one supposed to do with all of these fonts? How does one pick? Why does it matter? These are the questions that I attempt to address in this column.


There are several terms that mean something different in the typographic world than they do in common use. Below is a brief glossary of the most important. For the sake of brevity, these definitions refer to contemporary use, and do not include historical references.

bullet Font – A collection of symbols (usually letters, numbers, and punctuation) that are used to render type. Technically, a font includes only one style, i.e. Arial Black.

bullet Font family – A package of styles that is available for a given font. For example, the Calibri font family includes 6 styles – light, light italic, regular, italic, bold, and bold italic.

bullet Font Style – A font style refers to a variation such as bold, italic, heavy, or light. Some fonts come in so many styles it makes my head spin, while others may only come in 1 or 2.

swirlywind A font is what you use, and typeface is what you see. – Norbert Florendo, Font or Typeface?

bullet Point size – The size of the characters as well as the space around the characters. If you’ve ever noticed that some fonts appear larger than others at the same point size and wondered (as I have) why, now you know.

bullet Text – The words themselves and the structure of a series of words in order. Sometimes used as shorthand for body text, which is the text of the main body of a work, excluding elements such as the table of contents.

bullet Typeface – The design elements (style and shape) of a collection of symbols that comprise a font. This is an important distinction to typographers.

swirlywind Ty­pog­ra­phy is the vi­sual com­po­nent of the writ­ten word. – Matthew Butterick, Butterick’s Practical Typography

bulletTypography – “The practice of creating, selecting, and arranging or setting type” (Rosendorf).

swirlywind What font is used on the Absolut Vodka bottles? I don’t know. But I can tell you that the name “Absolut” is set in the typeface Futura Extra Bold Condensed. – Allan Haley, They’re Not Fonts!

In common usage, font and type are often used interchangeably, and the word font is used to describe an entire font family. Unless otherwise specified, I’ll use this convention.

Why do Fonts Matter?roundswirl

Make no mistake, your choice of type fonts is as important (if not as meaningful) as the content of your work.

swirlywind At­ten­tion is the reader’s gift to you. That gift is pre­cious. And fi­nite. And should you fail to be a re­spect­ful stew­ard of that gift—most com­monly, by bor­ing or ex­as­per­at­ing your reader—it will be promptly revoked. – Matthew Butterick, Butterick’s Practical Typography

Functional Impact

Font choice impacts your readers ability to focus on your writing in the following ways:

  • Fonts can give (or not give) structural cues about a document. These cues help readers find their place on the page and form a cognitive map of the information (Higgenbotham; Queen).
  • Fonts indicate the relative importance of portions or sections of the content within a document. (Higgenbotham).
  • The shape of the letters themselves (and the white space surrounding them) impact reading speed, comprehension, and attention (Santa Maria).

swirlywind Our ability to recognize words is affected by the shapes they form. All-caps text forms blocky shapes with little distinction, while mixed-case text forms irregular shapes that help us better identify each word. – Jason Santa Maria, How We Read

Aesthetic Impact

On an aesthetic level, your font choices have an immediate visceral impact on viewers. You have about 50 milliseconds to make a good first impression (Levy, 2008), and whether you do or not effects readers’ perceptions of the credibility, value and usability of your content (David).

In addition to this split-second first impression, viewers also experience
emotional responses based on aesthetics. Not only does this matter in terms of how your patrons feel about the library, it can have an impact on reading comprehension. This is because, while a pleasant aesthetic experience increases focus, an unpleasant one splits the readers’ attention between content and the negative emotional experience (Levy).Aside: The jury is still out when it comes to how fonts effect learning comprehension and retention. A 2011 study found that subjects presented with information in more difficult to read fonts were better able to remember the information 15 minutes later. The theory posited by the researchers is that individuals associate ease of reading with mastery, which results in decreased retention. (Diemand-Yauman, Oppenheimer, and Vaughan) However, other studies have shown that if the amount of information or the level of difficulty exceed the capacity of working memory, cognitive processes may be impaired (Yue, Castel, and Bjork).

Finally, consistent use of good font choices in marketing materials enhances brand recognition and keeps readers from becoming confused by materials that are visually diverse yet related (David; Higgenbotham).

Types of Type

There are many ways of classifying fonts, but for our purposes, we’ll talk about four broad categories:

bullet Serif (or seriffed) fonts have a small extra stroke at the ends of each letter. Most books use serif fonts because they flow nicely in large blocks of text.

Times New Roman has serifs


bullet Sans Serif fonts
don’t include these extra strokes. Though the adage that sans-serif fonts are best for on-screen reading has been called into question (Cousins), many of them are optimized for digital publishing.

Calibri is a sans-serif font

bullet Script fonts are designed to look like calligraphy or handwriting and come in two types: formal and casual.

Edwardian Script is quite formal. This type of font is most appropriate for wedding invitations and the like.

Architects Daughter is one of my favorite casual script fonts. I reserve it for personal projects such as designing daily planner printables, though I might use it for a handout if the situation is informal or the topic is artsy-craftsy in nature.

bullet Decorative (or display) fonts are unique fonts that are most often used in advertising, . Most decorative fonts look best when used for just a few words, and at larger sizes.

Archicoco is a decorative font So is Bauhaus 93 This is Magnifica, another decorative font. As you can see, this category includes a wide variety of font designs!




bullet Sometimes fonts overlap categories, such as in the two examples below:

TrashHand is an informal script font that is also decorative

Brush Serif – Colin is both an informal script and a serif font.

Font Personalitiesroundswirl

Another way to look at font design is to consider personality (also called voice). You may have heard that fonts have personalities and presumed that this was a colorful figure of speech.  Actually, believe it or not, people research this, and it’s

examplestrue – people associate fonts with personality characteristics. For example, one study grouped fonts into several personality categories, including directness,
gentleness, and cheerfulness (Li and Suen). Side note: I find these categories to be really weird, do you?

In addition to correlating fonts to personality traits, researchers in the field of visual rhetoric also try to identify the design features that lend a font its specific personality (Mackiewicz).

While this line of inquiry is interesting, it is probably not necessary to learn how to analyze typeface anatomy in order to choose a font that suits your purpose. If you think about it, these studies focus on perceptions that we already have. Therefore, in many cases, font selection is intuitive.

If you aren’t convinced, try the quick “Spot the Voice” test offered by typography expert Even Sorken in his article The Voices of Type. You’ll have to scroll down just a bit to see the quiz. Go ahead, I’ll wait.

swirlywind  When thinking about a typeface’s voice, its categorization/classification is not important. Instead, we need to know if the type is cheerful or dour. Is it relaxed or in a hurry? Is the type serious or frivolous? Luxurious or downmarket? Young or old? Fragile or robust? – Eben Sorken, The Voices of Type

Done? Great! I’m sure you passed the test with flying colors, but just in case, the next section offers some more concrete font-selection advice.

Font Tips

Consider your audience. Older adults will need a more legible font in a larger point size; teenagers may like something a bit flashy, and little kids – I have no idea, you tell me.

Save decorative fonts for titles, headers, and similar brief passages of text that you want to draw attention to.

bulletBe consistent – use the same size, font, and style for headers of the same level, for example.

bullet Don’t use all capital letters, as they’re harder to read. Also, I had a colleague once who used all caps to type emails, and IT SEEMED LIKE HE WAS YELLING ALL THE TIME.

bullet When using more than one font, they should be quite different in form. For example, if you choose a sans-serif font for a title, select a serif font for the body text.

bullet Except under extraordinary circumstances, two fonts is enough.


This column barely scratched the surface of what there is to know about typography, typefaces, and fonts. If you’re interested in the topic, or would like to explore, below are some resources that you may enjoy.

Finding & installing fonts

So the 67 fonts already installed on your computer aren’t enough, hunh? Me either. You can get free fonts from many sites. Fortunately, Creativebloq has a list of 36 Sites to Download Free Fonts.

Need help? Stephanie Evergreen of Evergreen Data has posted excellent instructions for both PC and Mac in her post titled Finding Fonts & Passing them On.

Tools for font afficionados

Flipping Typical is a website that displays your fonts in a browser window. Type text into the input area at the top of the screen, and you can compare how it looks in various typefaces.

flipping typical
I love Flipping Typical!

My Fontbook

Similar to Flipping Typical, but create a free account and use the Font Viewer to organize and rate your fonts.

Font Viewer

Further reading

Fonts in Use – You know how fonts are on signs, packaging, advertising, billboards, everywhere? This website tells you what they are.

Fontology – A typography workbook with a very nice glossary.

I Love Typography – A great blog with interesting and informative articles.

Professional Web Typography – If you’re composing for Web display, things are a bit different. This free online book has the details.

Typedia – An online encyclopedia of typography.

Typography Deconstructed – A very good reference for type anatomy.


David, Alicia, and Peyton R. Glore. “The impact of design and aesthetics on usability, credibility, and learning in an online environment.” Online Journal of Distance Learning Administration 13.4 (2010).

Diemand-Yauman, C., Oppenheimer, D., and Vaughan, E. “Fortune Favors the Bold (and the Italicized): Effects of Disfluency on Educational Outcomes.” Cognition, 118.1 (2011): 111-115. Print.

Higgenbotham, Daniel. Clean Up Your Mess: A Guide to Visual Design for Everyone. 2011. Web. 13 Nov. 2015.

Li, Y, and C.Y Suen. “Typeface Personality Traits and Their Design Characteristics.”Acm International Conference Proceeding Series. (2010): 231-238. Print.

Mackiewicz, Jo. “How To Use Five Letterforms To Gauge A Typeface’s Personality: A Research-Driven Method.” Journal Of Technical Writing & Communication 35.3 (2005): 291-315. Communication & Mass Media Complete. Web. 15 Nov. 2015.

Queen, Matt. “How Much do Fonts Matter Really? (Hint: A Lot).” Creativelive blog. 16 Jan. 2015. Web. 16 Nov. 2015.

Rosendorf, Theodore. The Typographic Desk Reference: TDR. New Castle, DE: Oak Knoll Books, 2009. Print.

Santa Maria, Jason. “How We Read.” A List Apart. 14 Aug. 2014. Web. 16 Nov. 2015.

Yue, Carole L., Alan D. Castel, and Robert A. Bjork. “When disfluency is—and is not—a desirable difficulty: The influence of typeface clarity on metacognitive judgments and memory.” Memory & Cognition 41.2 (2013): 229-241. Print.

Yves, Peters. “Bold & Justified: The Typographic Universe in Just One ideographic.” The Font Feed. 7 Mar. 2012. Web. 16 Nov. 2015.