作品集portfolio

PORTFOLIO 杨钧艺

JUNYI YANG 平面设计师

Graphic designer 旧金山艺术大学

Academy of Art Unversity

Conference Design

01

05

02

17

03

25

Branding Design 品牌设计

04

33

Book Redesign 书籍再设计

会议设计

Transformation of Vernacular Communication 本地的交流转换

Type Booklet 字体小册子

05

39

Type Promotion Poster 字体宣传海报 Personal Visual Identity 个人视觉识别

杨钧艺

JUNYI YANG 平面设计师

Graphic designer 188-0410-4798 415-712-3984 Email: yjybaby@126.com

教育背景

Educational background 06/2014 – current

旧金山艺术大学，旧金山，美国

Academy of Art University, San Francisco, CA, USA

平面设计 — 艺术学硕士

Master of Fine Arts in Graphic Design 09/2010 – 06/2014

鲁迅美术学院 (沈阳校区) ，沈阳，中国 Luxun Academy of Fine Arts

环境艺术设计 — 艺术学学士

Bachelor of Fine Arts in Environment Art Design

资格证书

Competition

毕业设计中荣获第一奖 专业设计技能

Graduate design First prize

Design skills

Photoshop InDesign Illustrator Hand Drawings Microsoft Office

语言能力

(Word, PowerPoint, Excel)

Language skills

英语

English

中文

Chinese

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

Conference Design 会议设计 Design concept: Xlab is the event where technology, place and design intersect. This organization of this conference is SEGD – The Society for Experiential Graphic Design.

My design concept is technology and 3D. Project Goal: Design the conference materials for actual graphic design conference Promotion Poster // Program booklet // Website look and feel // Name Badge // Conference Signage // App look and feel // Conference Ticket

设计理念:

Xlab是一个科技，地方和设计相关的项目。这个项目会议的组织团体是SEGD—经验性 社会平面设计。我的设计理念是科技和3D。 设计目标:

为真诚的平面设计会议设计会议材料 宣传海报 // 手册 // 网页 // 工作名牌 // 会议方向指示海报 // App // 会议门票

07

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

宣传海报 Promotion Poster

会议门票 Conference Tickets

工作名牌 Name Tage

会议方向指示海报

Conference Signage

09

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

手册 Program Booklet

11

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

13

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

网页 Website

15

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

App

17

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

Transformation of Vernacular Communication 本地的交流转换 Design concept:

I need to find a commerial sign that can be every field. Base on this sign, I

should design one system project design. My sign is a laundry company. My design concept is Environmetal and custom.

Project Goal: I need to find examples of vernacular communication within their environment.

Promotion Poster // Program booklet // App look and feel // Visual Identity

设计理念:

我需要寻找一个任何领域的商业性指示牌。在这个指示牌的基础上，我需要设计整个 项目。

设计目标:

我需要寻找当地的交流例子 宣传海报 // 手册 // App // 视觉传达系统

19

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

宣传海报 Promotion Poster

21

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

手册 Program Booklet

23

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

App

视觉识别系统 Visual Identity

25

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

Branding Design 品牌设计 Design concept: My topic is care for your pets when you are pregnant. Pets and newborns are part of our families. A newborn is our future, but pets also bring us happniess.

Many faimiles think pets have bacteria which are harmful to pregnant women. If they understand the real reasons and feed their pets safetly, the danger can be avoid. My design concept is knowledge and warm.

Project Goal: I need to identify a topic related for my personal experience and design the whole branding deisgn.

Promotion Poster // Program booklet // Packaging

设计理念:

我的话题是当你怀孕的时候也要照顾你的宠物。宠物和新生儿都是家庭的一部分。新 生儿是我们的未来，但是宠物也能带给我们快乐。许多家庭认为宠物含有细菌会伤害 到孕妇。如果他们懂得真正的原因和安全的喂养宠物，这个风险是可以避免的。我的 设计理念是知识和温暖。 设计目标:

我需要确定一个和我生活相关的话题，然后做一整套的品牌设计。 宣传海报 // 手册 // 包装设计

27

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

宣传海报 Promotion Poster

29

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

宣传手册 Promotion Booklet PREGNANCY FACT Household pets like cats and dogs, are a part of the family.

They give you love and joy, and I’m sure there’s no chance they’ll be moving out to make room for your baby. But keep in mind that pets can bring more than fun into your home—they bring in diseases that can be dangerous to both you and the fetus. However, scientific feeding is necessary. There are many ways to avoid diseases.

If you have a dog, take these steps to help keep yourself safe:

ARE DOGS OR CATS SAFE PETS TO HAVE WHEN YOU’RE PREGNANT?

• Don’t let your dog jump up on your belly.

• If your dog has bad habits, like biting or jumping, train him to stop doing these things before you have your baby.

• Make sure your dog is up-to-date with vaccinations. Do this before your baby is born.

• If you and your dog are especially close, ask your partner or a family member to spend more time with him. Because your baby will take much of your time and attention, having your dog develop relationships with others can help prepare him for changes to come once your baby is home.

FOR THE MOST PART, THERE’S NO REASON YOUR DOG CAN’T BE PART OF THE FAMILY WHEN YOU’RE PREGNANT.

SYMPTOMS OF TOX

IF YOU HAVE A CAT, TAKE IT TO YOUR VET TO TEST FOR TOXOPLASMA GONDII. If you have a cat, use these tips to help keep you safe from toxoplasmosis: • Ask a family member who isn’t pregnant to clean out the litter box every day.

• Keep your cat inside.

• Stay away from stray cats.

• Wash your hands thoroughly with soap and water after touching cat poop or after gardening.

• If you have a sandbox, cover it to stop cats from using it as a litter.

• Don’t feed your cat undercooked meat.

The symptoms of toxoplasmosis are quite mild and are often passed off as some kind of cold or flu. An infected person might get a low-grade fever, cough, headache, fatigue, and swollen glands.

IF YOU HAVE HAD A CAT IN YOUR HOME FOR A LONG TIME, IT’S LIKELY THAT YOU’VE ALREADY HAD TOXOPLASMOSIS —THIS IS A GOOD THING.

After infection, the body builds up antibodies (disease-fighting cells) to protect itself from a repeat infection.

“ PLEASE

DON’T STOP LOVING PETS BECAUSE YOU ARE PREGNANT. PETS WILL ALWAYS LOVE YOU.

” 31

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

包装设计 Packaging Design

33

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

Book Redesign 书籍再设计 Type Booklet 字体小册子

35

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

书籍再设计 Book Redesign

056

085 The Independent Spirit Awards

The Exquisite connection I have a favorite assignment I like to give when I teach.

It’s based on the Victorian parlor game called The Exquisite Corpse, conceived by a group of Surrealists who created collective collages of words or images. It was played by several people, each of whom would write a phrase on a sheet of paper, fold the paper to conceal part of it, and pass it on to the next player for his or her contribution. Once all the parts had been written, the paper was unfolded and read.

Our visual version of the game is an exploration of how narratives and images are built collectively from individual contributions. This project works well near the end of the semester when the students know each other well, can easily spot each other’s crutches and can collaborate to overcome them. The first time I tried this assignment there was a particularly talented illustrator in the class with a distinctive and quirky style. Seeing how his illustration influenced the design direction of the entire class, I made it a requirement of the assignment that every composition include hand-generated elements.

Comment: The Independent Spirit Awards is the antiOscars. The ISAs toggle the line between a drunken party and a celebration of the independent film community —very casual, a little rowdy and sometimes unhinged. The graphics needed to bridge the fact that this was a daytime beach party in a bright white tent that would be aired on a channel that’s bold, dark and essentially punk. In the spirit of the film industry and detached from Oscar-like formality, my approach was to play with the fashion and funky feeling of the ceremony while bringing the sunny, bright feeling of Santa Monica.

I think there are many aspects of this assignment that allow students to loosen up: starting with something to be recycled and reused rather than starting with nothing; the relief of collaboration, which takes the pressure off of individual performance; and the perception that if something is about personal expression, it will be judged differently. What seemed exceptional from my perspective was that in these explorations, the process became the focus. The experience of discovering how to use, share and transform the design elements became paramount to them, replacing the goal of creating a portfolio piece.

Design: Exopolis Art director: Jorge Calleja Designer: Jorge Calleja Client: IFC Channel Materials: leaves, fabrics, sequins, boxes sewing

Our collective urge to use our hands is a reaction to technology, mass production, conformity and authority. But there is something deeper too. What is it about the nature of hand-generated design that is so appealing? Why did I buy a Goko press?

Why do I read ReadyMade magazine even though I haven’t used a hammer or a needle and thread in ten years? Why is it that when I take notes, my scribbles are so full of content to me? Handwritten, hand drawn, gestural notations fell closer to the heart of the author, more personal, more honest and more genuine. It is analogous to the linguistic translation system, whereby the original language is the truth and the else. So often, the translation seems to be missing something.

Immediately the students became less inhibited in their work. Most started with hand-made type, using everything from ballpoint pens to fonts created with maple syrup. They were much more liberated in their use of media and more intentional in their execution than they had been all semester. The students describing their ideas.

Because the work was handmade it was personal, and found a clear, unique voice.

As our means of production become more transparent, so does the worth of handmade objects. It is not only their rarity, but also their authenticity that makes them valuable.

It is their humanness that shines through, and this is the thing we so desperately crave. Would a love letter have the same power if it were typeset? Handmade objects are ultimately about direct and meaningful communication between the artist and their audience. It is this connection between people that we seek as designer. And it is through the use of our hands that we can make our work felt.

BY CHEN DESIGN ASSOCIATES

2006014296

Chen Design Associates.

Commercial art—United States—History—21st century Graphic arts—United States—History—21st century Handicraft—United States—History—21st century. I. Title.

NC999.4.C44A4 2006 741.60973’09051—dc22

1.

2.

3.

4.

Fingerprint: the art of using handmade elements in graphic design/ Chen Design Associates.

P. cm.

Includes index.

ISBN-13: 978-1-58180-871-1(hardcover: alk.paper) ISBN-10: 1-58180-871-2

Library of Congress Cataloging-in-Publication Data Chen Design Associates.

P.O. Box 704, Windsor, NSW 2756 Australia Tel: (02) 4577-3555

Distributed in Australia by Capricorn Link

Distributed in the U.k. and Europe by David & Charies Brunel House, Newton Abbot, Devon, TQ12 4PU, England Tel: (+44) 1626 323200, Fax: (+44) 1626 323319 E-mail: postmaster@davidandcharies.co.uk

I work in a wooden world that first set type in 1879. Three years earlier, Alexander G. Bell had invented the telephone. Bell was aiming to change the future; the Hatch Brothers were simply looking for their first job. They became proprietors of Hatch Show Print, a letterpress job printer in Nashville, Tennessee.

Comment: This poster had two purposes. One was to announce the band’s gig and the other was to celebrate Jason Cardenas’ (the guitar player’s) thirtieth birthday. I wanted something that integrated an illustration I had done of him earlier.

To represent the dual purpose of the poster, a split format was used. I photocopied some textures and handwriting for the background and used a font that David Carson designed for Nine Inch Nails. The font has a nice organic feel to it.

Josh Chen Chen Design Associates

The art of using handmade elements in graphic design

By Chen Design Associates

CHEN DESIGN ASSOCIATES

www.howdesign.com

Design: D5ive Art Director: Paul B. Drohan Designer: Paul B. Drohan Client: Transfer Band Materials: pencil, paper, copier, scanner, computer

Illustration

Mixed Messages

How I Lost My Virginity in 2004 at Age 46

Jim Sherraden Hatch Show Print

Indelible Impressions

Jean Orlebeke Obek Design

I've Been Asked to Write an Essay for This Book

Grand Finale

Martion Venezky Appetite Engineers

Gallery

167

Object D' Art

134

Ross MacDonald

112

110

Hollywood Handmade

136

CONTENTS

The Exquisite Connection

082 056

The Letter H

Debbie Millman Sterling Brands

So here we are, in our third century of operation, creating posters for Coldplay that are drying next to B.B. King’s run, leaning against the wall next to Willie Nelson’s order, across the room from Pearl Jam, underneath Tim McGraw, leaning against Johnny Cash. He can hold ‘em all up, the Man in Black (the color that only runs $6.50 a pound).

I’m still fascinated with the engineering that goes into each iron component of the printing press and the harmony of each gear working together to make words from letters as old as Hatch Show Print itself. I’ve always liked old things, and while I have an appreciation of new inventions, it’s my job to keep most of them out of the shop. I can step easily in and out of the 19th and 21st centuries, slipping back and forth like a leaf through air, rising and falling in the sky with ink in my eye.

HOW I LOST MY VIRGINITY IN 2004 AT AGE 46?

Jim Sherraden Hatch Show Print February 8, 2006

Just because something is invented doesn’t mean you have to buy one and use it.

At Hatch Show Print, it’s more like “We have to use it because it’s here.” We work in letterpress because letterpress is the shop’s enduring technology, surviving every innovation in turn, whether silkscreen, offset printing, or now, electronic printing. I’m fond of saying that “the computer is the best thing that ever happened to Hatch.” That sentence usually confuses the listener until I continue, “… because we’re the antithesis of digital design.” I was explaining this to songwriter John Prine the other day and he nodded in agreement saying, “Yeah, it draws a pretty clean line.”

Comment: Peace: 100 Ideas redefines the traditional connotation of what constitutes an act of peace through the meaningful juxtaposition of ideas and imagery.

173

01 PEACE: 100 IDEAS LETTERING

DESIGN: CHEN DESIGN ASSOCIATES ART DIRECTORS: JOSHUA C. CHEN

Letterforms created by hand (complete with irregular wights and personal foibles) communicate directly to the reader on a human level, making the message that much more accessible.

DESIGNER: MAX SPECTOR CLIENT: CDA PRESS MATERIALS: LEAVES PRINTER: HEMLOCK PRINTERS

Directory of Contributors

174

Lettering

080 034

Michael Mabry Michael Mabry Design

058 032

Foreword

012

Introduction

006

005

170 Josh Chen Chen Design Associates

One hundred twenty-seven years later, if one of the 25,000 visitors that visit Hatch annually makes it past the swinging gate and wanders back to my big wooden desk, they usually comment on my old rotary telephone. They say something like, “I haven’t seen one of these in years.” Eventually they get around to noticing the countless pieces of wooden type (although I wryly joke that we only have 26 letters at Hatch Show Print). Still, they seem to focus first on the telephone. Probably because it’s the “antique version” of a tool they’re familiar with, that they use every day.

I remember the first time I heard a customer’s cell phone ring in the shop. “What’s that new sound?” I thought. And when I saw this newfangled device I remember thinking.

“More will be coming,” like a Native American on the plains must have thought when he saw the first settlers rolling in. and arrive they both did. Now everyone on my staff—all of whom are in their twenties—has a cell phone. I don’t have one and using one confuses me. (But I am proud to say I’ve learned how to book my own airplane tickets online.)

Transfer at Ken Club poster

FINGERPRINT

135

096

I do, when it comes to all the promises of technology and how it relates to the field we work in. There’s always the promise of being able to design better and faster than I was able to last year, last month, last week. Sleeker computers, sharper monitors and more feature-laden software upgrades are somehow supposed to help us produce better and better work. Everything we need to create the perfect piece is right there, waiting for us on our desktop. Just (upgrade,) point and click.

Now, I’m not making a case for getting rid of the computer. However powerful and full of functionalities, I’m somehow more and more suspect of its appeal. I find myself in a constant tug-and-pull, in a love/hate relationship with it. Are we really producing better work?

This book is a celebration of both the presence of the human hand in visual communication, and the breath of fresh air such a presence delivers into a field glutted with predictable, passionless solutions.

Fingerprint is reminder that in this da an age of e-gadgets, i-things, and all things high-tech tools that can help design reconnect with its audience. Even the hint of a hand-created element can activate a surface, instill passion and energy into a medium, and reassure the recipient that human understanding and insight are the foundations for the message.

We’ve designed this book to be an inspirational journal of sorts——one that you can go back to again and again. You’ll not only discover tips on using different materials, you’ll also get to hear directly from the designers behind each project. But wait, there’s more. We thought about what we’d like to see in a book like this, and decided that it would be really cool to hear from leading designers, illustrators, thinkers, writers and letterpress artists who embody the passion of their craft. These are some of our heroes——and we’re thrilled that they agreed to add to tapestry of this collection. We hope that their stories are as inspiring to you as they are to us.

So, take a break from that computer, curl up on the couch with this book, and experience the impact of the handmade.

Thank you: No book of this magnitude would be possible without the support of the following people. All the designers who shared a part of themselves with us in this book. Michael Mabry, Ross MacDonald, Debbie Millman, Jean Orlebeke, Jim Sherraden and Martin Venezky – the amazing essayists, for going way beyond the call of duty. Y’all don’t design too shabby either… We’re not worthy. Kathy Barr and the SF center for the book, for the use of your lead type collection, Judith Berliner and Full Circle press for spreading the world. Megan Lane Patrick and Amy Schell at How books, for believing in this project, and allowing us to dream. Hope we did you proud. To the extremely talented, loyal, and always-up-for-a-challenge Chen Design team, for your endless pursuit of creative excellence. Pam, Rachel& Ethan, for love and devotion.

The projects within these pages are beautiful, technical, simple, layered and powerful. Each project communicates its intended message with eloquence. You can be part of this exciting design revolution. Leave your own fingerprint on the world by exploring the fusion of the digital with the hand-wrought.

Distributed in Canada by Fraser Direct

THE ART OF USING HANDMADE ELEMENTS IN GRAPHIC DESIGN

With foreword by Michael Mabry

100 Armstrong Avenue Georgetown, ON, Canada L7G 5S4 Tel: (905) 877-4411

Chen Design Associates is a visual communications firm based in San Francisco. Firm principal Joshua Chen is a frequent guest speaker for professional conferences, workshops, studio tours and educational institutions. The firm self-published the award-winning Peace: 100 ideas.

form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Published

by HOW Books, an imprint of F+W Publications, Inc., 4700 East Galbraith Road, Cincinnati, Ohio 45236. (800) 289-0963. First edition.

MAKE YOUR MARK

INTRODUCTION

Do you ever get the feeling you’re being duped?

Copyright © 2006 by Chen Design Associates.

Manufactured in China.

All rights reserved. No other part of this book may be reproduced in any

FINGERPRINT

Inside you’ll find examples of work that showcase a variety of design methods including mixed media, illustration, letterpress, screenprinting and collage. You’ll find inspiration in examples from outstanding designers and see how traditional elements can make a more powerful statement than anesthetized computeronly work. Fingerprint also includes insightful essays on the power of the handmade by Debbie Millman, Jean Orlebeke, Jim Sherraden, Martin Venezky and Ross Macdonald.

FINGERPRINT

Jean Orlebeke

37

平面设计师 Graphic Designer

Junyi Yang

作品集

Portfolio

字体小册子 Type Booklet

From 1983 to 1985, he worked as a font designer with Autologic Incorporation, where Sumner Stone also worked for a short time. There he trained, not just as a font designer but also as a calligrapher.

6 WEIGHTS

4 OPTICAL SIZES

4 WIDTHS 6 WEIGHTS

WATERFALL ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Kepler Regular abcdefghijklmnopqrstuvwxyz 0123456789~!@#$%^&*()_+ 0123456789~!@#$%^&*()_+ 36pt ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789~!@#$%^&*()_+ 0123456789~!@#$%^&*()_+ ABCDEFGHIJKLMNOPQRSTUVWXYZ

TER

RAC

KEPLER STD 4 WIDTHS 2 OPENTYLE FEATURES

14pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789~!@#$%^&*()_+ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789~!@#$%^&*()_+ abcdefghijklmnopqrstuvwxyz

12pt

0123456789~!@#$%^&*()_+ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789~!@#$%^&*()_+

10pt 8pt Waist

Kepler capt ures the mo dern style in a humnistic manner.

Adobe Type

13

“Kepler Std Created by Adobe type designer Robert Slimbach in the tradition of classic modern 18th-century typefaces, the Kepler , . : ; & four optical size varifont family includes ations that have been optimized for use at specific point sizes. Intended sizes vary by ` - ’ / . * the general size ranges include family, but Caption (6-8 pt), Regular (9-13 pt), Subhead (14-14) and Display (25-72pt).”

18pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789~!@#$%^&*()_+ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789~!@#$%^&*()_+ abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789~!@#$%^&*()_+

30pt 24pt

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789~!@#$%^&*()_+ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789~!@#$%^&*()_+ abcdefghijklmnopqrstuvwxyz

0123456789~!@#$%^&*()_+

09

CHA

Vertical Serif

4 OPTICAL SIZES

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 0123456789~!@#$%^&*()_+ 0123456789~!@#$%^&*()_+ ABCDEFGHIJKLMNOPQRSTUVWXYZ

This: is “ conveyed ...a humanistic ! manner. ’ Weighted diagonal

4 OPTICAL SIZES

KEPLER STD 6 WEIGHTS

4 OPTICAL SIZES 6 WEIGHTS 2 OPENTYLE FEATURES

Adobe Type

Straight stem

2 OPENTYLE FEATURES

2 OPENTYLE FEATURES

Light Extended Display Light Extended Subhead Light Extended Light Extended Caption Extended Display Extended Subhead Extended Extended Caption Medium Extended Display Medium Extended Subhead Medium Extended Medium Extended Caption Semibold Extended Display Semibold Extended Subhead Semibold Extended Semibold Extended Caption Bold Extended Display Bold Extended Subhead Bold Extended Bold Extended Caption Black Extended Display Black Extended Subhead Black Extended Black Extended Caption

Robert Slimbach

2 OPENTYLE FEATURES

6 WEIGHTS KEPLER STD 4 WIDTHS 2 OPENTYLE FEATURES

11

KEPLER

Slimbach’s Kepler captures the modern style in a humanistic manner. It is elegant and refined with a hint of oldstyle proportion and calligraphic detailing that lends it warmth and energy.

4 WIDTHS

Adobe Type

01 so popular with printers and typesetters. It’s warmth and energy are delivered with a hint of old style proportion and calligraphic detailing. But the concept behind the Kepler font is firmly rooted in the modern technology around us today.

Traditionally, modern typefaces are known for their cool intellectual quality, but

KEPLER STD 6 WEIGHTS 4 WIDTHS KEPLER STD

07

Adobe Type Although modern typefaces are generally known for their intellectually-based qualities, the Kepler font’s modernism is conveyed in a more humanistic manner. On first glance, It’s as elegant and refined as many of the most popular 18th century typefaces

modern 18th-century typefaces.

2 OPENTYLE FEATURES

Adobe Type

168 FONTS

Kepler std

Named after the German Renaissance astronomer, Kepler is a contemporary type family created by Adobe type designer Robert Slimbach in the tradition of classic

6 WEIGHTS 4 WIDTHS 2 OPENTYLE FEATURES

6 WEIGHTS

Lobe

Created by Adobe type designer Robert Slimbach in the tradition of classic modern 18th-century typefaces, the Kepler font family includes four optical size variations that have been optimized for use at specific point sizes. Intended sizes vary by family, but the general size ranges include Caption (6-8 pt), Regular (9-13 pt), Subhead (14-14) and Display (25-72pt).

TYPE FEATURES

2 OPENTYLE FEATURES

Robert Slimbach

KEPLER HISTORY

TYPE FEATURES

4 WIDTHS 2 OPENTYLE FEATURES

6 WEIGHTS

Robert Slimbach

@

6 WEIGHTS

4 OPTICAL SIZES KEPLER STD KEPLER STD 6 WEIGHTS

In 1991 he received the Charles Peignot Award from AtypI for excellence in type design. Slimbach is now based with Adobe Systems in San Jose, California.

Kepler ures th dern s a hum mann

4 OPTICAL SIZES

2 OPENTYLE FEATURES 6 WEIGHTS 2 OPENTYLE FEATURES 4 OPTICAL SIZES

served as the basis for the design of Adobe Garamond.

Counter

4 OPTICAL SIZES

2 OPENTYLE FEATURES

2 OPENTYLE FEATURES KEPLER STD 4 OPTICAL SIZES

went to the Plantin-Moretus museum in Antwerp, Belgium, to study the original Garamond typefaces. These

Light Display Light Subhead Light Light Caption Display Subhead Regular Caption Medium Display Medium Subhead Medium Medium Caption Semibold Display Semibold Subhead Semibold Semibold Caption Bold Display Bold Subhead Bold Bold Caption Black Display Black Subhead Black Black Caption

4 WIDTHS

2 OPENTYLE FEATURES

4 OPTICAL SIZES

involved in developing new fonts for the Adobe Originals program. During his time at Adobe Systems, Slimbach

Light Semicondensed Display Light Semicondensed Subhead Light Semicondensed Light Semicondensed Caption Semicondensed Display Semicondensed Subhead Semicondensed Semicondensed Caption Meidum Semicondensed Display Meidum Semicondensed Subhead Meidum Semicondensed Meidum Semicondensed Caption Semibold Semicondensed Display Semibold Semicondensed Subhead Semibold Semicondensed Semibold Semicondensed Caption Bold Semicondensed Display Bold Semicondensed Subhead Bold Semicondensed Bold Semicondensed Caption Black Semicondensed Display Black Semicondensed Subhead Black Semicondensed Black Semicondensed Caption

4 WIDTHS

4 WIDTHS KEPLER STD

the International Typeface Corporation in New York.

In 1987 he joined Adobe Systems. Ever since, he has been

Light Condensed Display Light Condensed Subhead Condensed Display Condensed Subhead Medium Condensed Display Medium Condensed Subhead Semibold Condensed Display Semibold Condensed Subhead Bold Condensed Display Bold Condensed Subhead Black Condensed Display Black Condensed Subhead

6 WEIGHTS

KEPLER STD

KEPLER STD

Following this he was then self-employed for two years and developed the two fonts ITC Slimbach and ITC Giovanni for

TYPEFACE

2 OPENTYLE FEATURES 4 WIDTHS 6 WEIGHTS

05

03

and greeting cards. This work brought him into contact with Autologic Incorporation in Newbury Park, California.

Adobe Type

Robert Slimbach was born in 1956 in Evanston, Illinois, USA, but grew up in South California. After leaving college he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters

Adobe Type

DEISGNER BACKGROUND

The Renaissance astronomer Johannes Kepler tied his interests in optics and astronomy together and invented an improved version of the refracting telescope. It’s fitting that the typeface that bears his name was designed with an eye to optical purity as well as design.

Waist

39

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

Type Promotion Poster 字体宣传海报 Personal Visual Identity 个人视觉识别

41

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

字体宣传海报 Type Promotion Poster

43

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

个人视觉识别 Personal Visual Identity

45

Junyi Yang

平面设计师 Graphic Designer

作品集

Portfolio

包装设计 Packaging Design

47

Junyi Yang Academy of Art University_Graphic Design 415-712-3984 188-0410-4798