Typography Portfolio by Kristi Ann Sanidad

ypography portfolio

KRISTI ANN SANIDAD

LOGO

typography portfolio | Spring 2013

ypography portfolio

KRISTI ANN SANIDAD

6 8 16 24 26 28 30

CONTENTS

6 UBIQUITOUS TYPOGRAPHY

GILL SANS ¤ Goudy Old Style ¤ JUICE ¤ TIMES NEW ROMAN

8 JAY PARK & AOM BROCHURE HELVETICA NEUE ¤ JUICE ¤ MYRIAD PRO

16 SNAPS! PROJECT GILL SANS

24 CHARACTER STUDY

CARDINAL ALTERNATE ¤ LUCIDA BLACKLETTER

26 LYRIC POSTER

HELVETICA NEUE ¤ INSIGNIA

28 SKETCHBOOK

HANDRAWN LETTERING ¤ IMAGES ¤ LOGOS

30 POSTER DESIGN INSIGNIA

table of contents

I’M COMING And now my vision is so clear

If I could change my state of mind

THEN I WOULD Is something I can’t

And I could let you slip away

WITHOUT a

second glance

Why can’t I realize I’m fighting for my life? Why can’t I realize

I’m FIGHTING for my life? This is like a

FlashBack

This is like a dream This is like all the things you can fit

Inside a memory

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

the art of typography

ypography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into some-thing more than a short manual of typo-graphic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these commandments, suggestions,

“FLASHBACK” — CALVIN HARRIS TYPE ISSUE | MAY 2013

and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose. Typography thrives as a shared concern- and there are no paths at all where there are no shared desires and directions. A typographer determined to forge new routes must move, like other solitary travellers, through uninhabited country and against the grain of the land, crossing common thorough fares in the silence before dawn. The subject of this book is not typographic solitude, but the old, well-travelled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose- if only we know the paths are there and have a sense of where they lead.That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is pre cisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist. Letterforms change constantly, yet differ very little, because they are alive. The principles of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made. Writing systems vary, but a good

page is not hard to learn to recognize, whether it comes from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy. The principles that unite these distant schools of design are based on the structure and scale of the human body; the eye, the hand, and the forearm in particular- and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads. Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage. It is true that typographer’s tools are presently changing with considerable force and speed, but this is not a manual in the use of any particular typesetting system or medium. I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking hand- and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.

B y K r i s t i A n n s A n i dA d

109

character study

bureau agency

Character Study 2

Sign Language

TH E LE TT

X-ray

X-MEN

he letter x is the twenty-fourth letter in the ISO basic Latin alphabet. In Roman numerals, it represents 10. In mathematics, ‘x’ is commonly used as the name for an independent variable or unknown value. In Ancient Greek, ‘Χ’ and ‘Ψ’ were among several variants of the same letter, used originally for / k^h/ and later, in western areas such as Arcadia, as a simplification of the digraph ‘ΧΣ’ for /ks/. In the end, more conservative eastern forms became the standard of Classical Greek, and thus ‘Χ’ (Chi) stands for /k^h/ (later /x/). However, the Etruscans had taken over ‘Χ’ from western Greek, and it therefore stands for /ks/ in Etruscan and Latin. X is the third least common letter in English, with a frequency of about 0.15% in words. It is, however, more frequent than Q and Z.

Cardinal Alternate

typography portfolio | Spring 2013

the art of typography

TYPE ISSUE | MAY 2013

UBIQUITOUS typography

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

B y K r i s t i A n n s A n i dA d

typography portfolio | Spring 2013

109

BROCHURE

typography portfolio | Spring 2013

THE SNAPS! EXPERIENCE This is probably one of the few experiences that left a deep impression on me because this assignment constantly kept asking for more interesting layouts for the given type. The SNAPS! EXPERIENCE this past nine weeks challenged my creative mind. For each week, after approaching the last few pages, I was always at a designer block-just had to keep pumping my brain for that last spark of type placement design. The last week requirements with color is my favorite out of this assignment because I love to create design with constrasted colors, they instill an emotion into the design. Overall, this experience has led me to understand the numerous possibilities that can be done in design through typography.

SNAPS PROJECT

typography portfolio | Spring 2013

character study

bureau agency

CHARACTER STUDY

Character Study 2

Sign Language

TH E LE TT

X-ray

X-MEN

Cardinal Alternate

typography portfolio | Spring 2013

I'm coming 'round And now my vision is so clear If I could change my state of mind Then I would disappear The love I get from you Is something I can't change And I could let you slip away Without a second glance Why can't I realize I'm fighting for my life? Why can't I realize I'm fighting for my life? This is like a flashback This is like a dream This is like all the things you can fit Inside a memory

LYRIC POSTER

I’M COMING And now my vision is so clear

If I could change my state of mind

THEN I WOULD Is something I can’t

And I could let you slip away

WITHOUT a

second glance

Why can’t I realize I’m fighting for my life? Why can’t I realize

I’m FIGHTING for my life? This is like a

FlashBack

This is like a dream This is like all the things you can fit

Inside a memory

“FLASHBACK” — CALVIN HARRIS

typography portfolio | Spring 2013

As an Apple preferred person, this is something that speaks to me because of my design inclined mindset.

She has a makeup style that I'm really fond of: natural eye makeup & flawless but luminescent skin.

This is probably my most all-time favorite tea. I love the taste of this green tea with ginseng and a hint of honey. Also the oriental packaging of the product is very cute. Great for a buck!

Honestly, I've never had a relationship because of my addiction to k-pop stars. My standards have skyrocketed.

This quote is so true and as an aspiring graphic designer, it's something that I always try to pull creativity from.

Skinny Love is a term that I adore and is something that I'd like to have in a relationship.

This is Jay Park and he is my ultimate idol celebrity. He's very talented and I did the brochure on him and his b-boy crew, AOM.

I fly a lot from New Jersey to Los Angeles & vice versa to achieve my dream as a graphic designer. Love the window seat. I use Virgin America Airlines. This model's name is Sora Park and I just absolutely love her and her style. She's so stunning. I even follow her on Instagram.

typography portfolio | Spring 2013

Insignia monoline display typeface Insignia is a 1986 typeface by British designer Neville Brody. Originally devloped as a headline face for Arena Magazine. Insignia is a monoline display typeface immediately identifiable by cross strokes on the capitals that cut through the main stems of the capital letters.

POSTER DESIGN

AZAZA ZA Y Y Y B B AB ABAYA YA YA AZAZA ZA CAC BC BCBZB ZB ZB DBD CD CDC AC AC AC abcdefghijklmnopqrstuvwxyz B BAB AB E CE DE DEDBD BD BD FDF F EFECECE CE 1234567890&$#.,:;!?/[< CAC BC BC G G GEG E F FDF D FH FHFD B HFHG G EG D D CD CD GE G I GE G I I FH FH I F H C H H H H J J G I G I G I J J E E DE DE K I K JI K JI K JI H J H J H J L J L KL KLK I K I K I K FDF EF EF MKM LM LML J L J L J L GEG FG FG N LN N MNMKM KM KM O O LN LN OMO M F NP NPNLNM H H H HG G PNPO O O NO M OQ Q OQOM NP G Q N PR PRPOP OP O I H I H I I RPRQ Q Q Q SQ SQS RS Q PRPR PR J H J I J I J TR TRT ST R QS QS QS S S S U U TU TUTRT RT RT K I K J K J K V T V UV UVUSU SU SU UW W W T T T J W L L KL KL VX VXVUVUV UV X VXW W W K W YWVW VX VX Y Y XYW M M LM LM XW X Z Z X Z XW W Z Y Y Y Y Y XY XY NLN MN MN Z Z AZ A Z A Z AZ X Z Y Y B B AB ABAY AZ AZ A OMO NO NO C A C BC BCBZ B B B DBD CD CDC AC AC AC PNP OP OP C E E DE DEDBD BD BD FDF EF EFECECE CE QOQ PQ PQ EG G G D D D G P FH FHFEF EF EF HFHG R R QR QR G I GFGFG FG I H I G I Q H J J H J HI G HI G HI G HI J BRODY S SRS RS NEVILLE I I I K K J K J K J H J H J H J TRT ST ST L J L L KLK I K I K I K M M MKM K S L N L N L KJ L KJ L KJ L U U U U T T NLNM M M M O OM L M LN LN T O ON M NM NPNM V VUV UV PNP OP O O O NO M QOQ PQ PQO P NP PNPO monoline display typeface WUW V W V W R PR QR QRQ OQ Q OQ Q is a 1986 typeface S S RS RSRPRPR PR X V X W X W X A ZY A ZY A ZY AInsignia by British designer Neville T R T S T S T SQS QS QS SU U U R R R W Y Y Y B B B Brody. Originally developed B U A A A Y Y X Y X Y C A C BA C BAasCaBAheadline T V T VTST ST ST Z Z B Zface V T VU B for Arena U U B X B U D D A A WU T U isC a monoline T V T V AInsignia W W VWU Z Z Y Z Y Z DE C DE Cmagazine, C C C C VU VXVU E display E D Btypeface B D B Dimmediately UW X V X WX W W Y D D D W W D W F F C E by C Ecross-strokes CE identifiable on Y Y XY XYX VX VX VX X G Ecapitals GE D D Z the that cut through the Z A Z A Z A Z A GHF EF GHF EFmain W Z Z F F FofEthe F FD Y Y WY Y Z Y Z Y Z YW letters. EG XZ XZ XZ G Ecapital G ZY ZYZY ZYZ B B A B A B I GH I GH HJI GH Hstems I G Z F F YZ YZ Z F Z Z H H X X X H H ZY ZY YWY W ZYZ Y YZ C A C B C B C KJ JI KJ JI K JI KJ JI GH JI GH JI GH JI X XZ XZ X VX VXW X V YWY WY WY WUW UW U WX X X X D B D C D C DML KL ML KL ML KL ML KL JI KL JI KL JI KL V V V V T V T V T VW W UW UW C N NMKM KM KM N N U U U E E S SA S U VAU E E D D O M O MN O MN O N L N L N L N A A T V T V T V T T T T R U U R R SU SQS Q S Q S TBS T S U F D F E F E F QP ON QP O QP O QP O MN OP MN OP MN OP B B B R RT RT R R R R P E P S P P S A A P P P S A R R Q O O G G F G F GRS Q RS Q S Q S Q OP Q P Q P Q C CQP ONBQP ONCQP ONBQP QRCP QR QP R QP RS F R R R R R R R O OQ OQ O M O MD O O PD H H G H G H UT S UT S UT S UT S QR S QR S QR S DBD P P NP N LC NLNM NONO NO G C T T C T T T T L T I H I H I WV U WV U WV U WV U ST U ST U ST U I M K M KE M K M NEM N M N M O E E D FKL JDKL JFKL JDKL MFKL M KL M KL MN J H J I J I J X WV X WV YX WV YX WV U WV UV WV UV WV F E GJI HIEJI HIGJI HIEJI KLGJI KL JI KL JI KL K I K J K J K ZY YX ZY YX Z YX Z YX WV YX W YX W YX G F HGH GFFGH GFHH GFFH JIHGH JI GH JI GH JI L J L K L K L BA Z BA Z BA Z BA Z YX Z YX Z YX Z H G IF DEGF DEIGF DEGGF GHIEF GH EF GH EF GH M K M L M L M DC BA DC BA DC BA DC BA ZA BA ZA BA ZA BA I H JDE CBHDE CBJDE CBHDE EFJD EF D EF D EF N L N M N M N EF DC EF DC EF DC EF DC BC DC BC DC BC DC J I KCB A ICB AKCB A ICB DCKCB DC CB DC CB DC O M O N O N O G EF G EF GH EF GH EF D EF DE EF DE EF K J LZA ZY JZA ZYLZA ZY JZA BALZA BA ZA BA ZA BA P N P O P O P HI GH HI GH I GH I GH EF GH F GH F GH L X X XK Y Y Y Y WK KM Y Y WY Z Z Z Z Q O Q P Q P Q KJ JI KJ JI KJ JI KJ JI GH JI GH JI GH JI M X YMX Y X Y X Y M X VXW V X VL P L L L W W W L I I L L W I W W W XN U UN X X VX R R Q R Q R M K M KL M KL M KL J KL J KL J KL N N V T V T V U VWVW VW TM LN N N K K K Q M M U U UW N U U U S U VO S S R S R S O M O M O M O M L MN L MN L MN S SO V V T V O O T R T RN TUTU TU N PST QRN S S SU SQ S Q S TP T R T S T S T QP ON QP ON QP ON QP ON MN O MN O MN O P P T T RT R PO R P R PO RSRSRS OQ Q Q QS QOQ O Q O Q RQ U S U T U T U RS QP RS QP RS QP RS QP OP QP OP QP OP QP Q Q R R PR P P NP P N P NP PQ Q PQ PR O O OQ V T V U V U V UT RS UT RS UT RS UT RS QR RS QR RS QR RS R OMO M O M O PR R P P P N L N LQ Q SMN LQ W U W V W V W V UT V UT WV UT WV UT S UT ST UT ST UT SM K MN ONSMNL ON MN ON MN ON MK S K R TKL J RKL J TKL JRKL MTK M KL M KL M X V X W X W X WX WV WX WV X WV X WV UT WV U WV U WV T W Y Y V V Y S UJI HISJI HIUJ HISJ KLUJI KL JI KL JI KL Y Y X Y X Y ZY YX ZZ YX ZZ YX ZZ YX WV YX W YX W YX U X T VH GF TH GFVHI GFTHI JIVGH JI GH JI GH JI Z Z Y Z Y Z ZZ YX ZZ YX ZZ YX ZZ YX ZZ YX ZZ YX ZZ V GEG EG EGH H H H Y UW ZY ZY YWY WY WY Z F DU ZYZ F W FG F DU WF G F EF G Z Z W X X VX VX VXY Y XY XY E CV ED E F E F EG E Z Z Z C CV V WUW UW UW X W X W X W X D D XDC B DC EXDC E DC EF DC EF X XC BAW V T V T V T VWVW VW VW CB DBD BD BD A W U USU SU SUV V UV UV B CY Y YB Z XB ZYB ZAW ACAC AC X X Z Z Z Z

Y Y Y AZAZA ZA B B AB ABAYA YA YA CAC C BCBZB ZB ZB D D ACAC AC DBD B CE CECB BD BD ECED D FDCD CE CE F F F D ED G EGE GEG E D F FH FHFEF EF D HFHG G GFGE I G FH I G I H I G F H H H H J J G I G I G I J H J K I K JI K JI K JI H J H J H J J L L L L I K I K I K M KMK MKM K J L J L J L L L L L N N N MNMKM KM KM O O LNLN LN OMO M NP NPNM MO MO PNPO O QO NO NP NP Q Q PQO PO PRPO R PR QR Q Q Q PQO PR SQS RS RSQ P R QR Q TRT ST STR Q S S S S USU TU TUT RT RT RT V T V UV UVUSU SU SU WUW V W V W V T V T V T V X V X X W X WUW UW UW Y Y VX VX VX YWY W X Z X Z XW ZXZ Y Y WY Y Y YW Y XZ XZ AZ A Z A Z AZ X Z Y Y B B AB ABAY AZ AZ A C A C BC BCBZ B B B B D D CD CDC AC AC AC E CE DE DEDBD BD BD FDF F EFECECE CE G G GEG E FDF DF FH FHFD HFHG EG EG EG I G F F I G I H I G F J H J H G HI G HI G HI J H J K I K JI K JI K JI H J H J H J L J L L KLK I K I K I K M M MKM K L N L N L KJ L KJ L KJ L NLNM M M M OM L M LN LN O O NO M NM NPNM MO PNP OP O O O O QOQ PQ PQP N P N P N P P R R QR QRQOQ OQ OQ SQS RS RSRPR PR PR T R T T S T SQS QS QS U UTRT RT RT USU S T V S S S V T V T V U U TU TU W WU WUW U V V V T VU V V V X X WX WXW U W UW W YWY X Y X Y X V X V X V X X Z Z Z Z Y WY WY Y Z Y Z Y Z YW XZ XZ XZ ZY ZYZY ZYZ Z YZ YZ Z Z Z X X X ZY ZY YWY W ZYZ Y YZ X XZ XZ X VX VXW V X YWY W WY WUW UW U WX X Y X VX V T V T V T VWVW VW U S U S U S U V U V U V UW V TRT RT RTUTU TU TU SQS Q S QS T S T S T S T RPRPR PRSRS RS RS QOQ O Q QRQR QR QR P P PNP NPO NPQ Q P O Q OMO M O MOP OP OQ P NP N L N L N L NONO NO M M KM KM KMN N MN MO N L J L L L LM LM LM K K K K I K JI K JI K M L J L J L J L J H J H J H J K I G I G I G I J I KJ I KJ I KJ HFH FH FH I H I H I H I GEG E G EGHGH GH GH FDFDF D F FGFG FG E E ECE E CEG F F EF D F DBD C D BDEDE DE C C CE CACB C C D D A A D D B B B B BC C BC BC AZ AZ A Z ABAB AB AB Y Y Z ZXZ Y AZ A X Z X Z AY AZ YWY W Y WY Z Z Y Z Y Z X VX VX VXYXY XY XY WUW UW UW X W X W X W X V T V T V T VWVW VW VW USU S U SUVUV UV UV TRT RT R TUTU T TU S SQS Q S QS T S T SU T RT RPRPR PRSRS RS S Q Q Q QOQ O Q QR R R R PNP NPO PQPQ PQ PQ N O OMO MO MOP P OP OP N L N L N L NONO NO NO MKM K M M MN MN MN L L L J L L KLNLM M M K K I K JI K JI K M L J L KJ L KJ L J H J H J H J K K K I K I I G I I G I J J I HFHG H F H I H I H JI H JI F GEG EG EGHGH GH GH FDF F DFGFG FG FG ECED E CEFEF EF EF D DBD C D BDEDE DE E C CACB AC ACD D C C

Insignia

typography portfolio | Spring 2013