bowman_portfolio

Connor Bowman hails from the snowy winters of Vail, Colorado.

Due to a series of events that even Bowman himself cannot explain he found himself next in Los Angeles, California.

He is currently studying Graphic Design at the Fashion Institute of Design and Merchandising.

What’s next for Bowman? World Domination.

Snap

literary + art journal

SNAP SNAP SNAP SNAP SNAP SNAP SNAP SNAP SNAP volume ten

in this issue:

herbert matter

issue three

jean-michael basquiat

andy warhol

jean cocteau

georgia o’keeffe

saul bass keith haring

Logo Designs

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Hotel Restaurant Spa

Ubiquitous Type The presence of typography both good and bad, can be seen everywhere.

T

ypography makes at least two kinds of sense, if it and free to become more different still, how can one honestly makes any sense at all. It makes visual sense and write a rulebook? What reason and authority exist for these comhistorical sense. The visual side of typography is mandments, suggestions, and instructions? Surely typographers, always on display, and materials for the study of like others, ought to be at liberty to follow or to blaze the trails its visual form are many and widespread. The history of letthey choose. terforms and their usage is visible too, to those with access to

Typography thrives as a shared concern - and there are no manuscripts, inscriptions and paths at all where there are old books, but from others it “Typography is the craft of endowing no shared desires and direcis largely hidden. tions. A typographer deter Therefore, this book human language with a durable visual mined to forge new routes has grown into something form, and thus with an independent must move, like other solimore than a short manual tary travellers, through uninexistence.� of typographic etiquette. It habited country and against is the fruit of long walks in the grain of the land, crossthe wilderness of letters: in ing common thoroughfares part a pocket field guide to the living wonders found there, and in the silence before dawn. The subject of this book is not typoin part a meditation on the ecological principles, survival techgraphic solitude, but the old, well- travelled roads at the core of niques, and ethics that apply. The principles of typography as I the tradition: paths that each of us is free to follow or not, and understand them are not a set of dead conventions but the tribal to enter and leave when we choose - if only we know the paths customs of the magic forest, where ancient voices speak from are there and have a sense of where they lead.That freedom is all directions and new ones move to unremembered forms. denied us if the tradition is concealed or left for dead. Originality

One question, nevertheless, has been often in my mind. is everywhere, but much originality is blocked if the way back to When all right-thinking human beings are struggling to rememearlier discoveries is cut or overgrown. If you use this book as a ber that other men and women are free to be different, guide, by all means leave the road when you wish. That is pre-

cisely the use of a road: to reach individu- ally 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, of 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.

Valentine Design

Book Design

Poster Design

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modernism a look back at the future 1914-1960

may 31,2015 santa monica civic auditorium