PORTFOLIO
Chanel Rose Rubinoff
F O F N I
EL
A H N C
RU B SE
MY LOGO
RO
GRAPHICS
INTRODUCTION About Typography From learning about tons of different fonts and about where they come from. Typography is an art and it is a way to communicate with the different types of fonts used or created. Typography is, quite simply, the art and technique of arranging type. It’s central to the skills of a designer and is about much more than making the words legible. Your choice of typeface and how you make it work with your layout, grid, colour scheme, design theme and so on will make the difference between a good, bad and great design. All typefaces are not created equally. Some are fat and wide; some are thin and narrow. So words set in different typefaces can take up a very different amount of space on the page. The height of each character is known as its ‘x-height’ (quite simply because it’s based on the letter ‘x’. When pairing typefaces – such as when using a different face to denote an area of attention – it’s generally wise to use those that share a similar x-height. The width of each character is known as the ‘set width’, which spans the body of the letter plus a space that acts as a buffer with other letter. The most common method used to measure type is the point system, which dates back to the 18th century. One point is 1/72 inch. 12 points make one pica, a unit used to measure column widths. Type sizes can also be measured in inches, millimetres, or pixels. Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line-spacing (leading), and letter-spacing (tracking), and adjusting the space between pairs of letters (kerning[1]). The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers.[2][3] Typography also may be used as a decorative device, unrelated to communication of information. Typography is the work of typesetters (also known as compositors), typographers, graphic designers, art directors, manga artists, comic book artists, graffiti artists, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from clerical workers and newsletter writers to anyone self-publishing materials. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of previously unrelated designers and lay users, and David Jury, head of graphic design at Colchester Institute in England, states that “typography is now something everybody does.”[4] As the capability to create typography has become ubiquitous, the application of principles and best practices developed over generations of skilled workers and professionals has diminished. So at a time when scientific techniques can support the proven traditions (e.g., greater legibility with the use of serifs, upper and lower case, contrast, etc.) through understanding the limitations of human vision, typography as often encountered may fail to achieve its principal objective: effective communication.
MY BUSINESS CARD
E CHANEL ROS GRAPHICS
Chanel Rose
6034 Weeping Banyan ln, Woodland Hills, CA 91367 310 694 4683 Graphics
TOC Table Of Contents 3 Fonts Used 5 Typographical Terms 7 - 8 Character Study A 9 - 10 Character Study G 11- 12 Character Study J 13 - 14 Character Study Ampersand & 15 - 16 Typographical Bio 17 - 18 Logo Design 19 - 20 Ubiquitous Type Layout 20 - 21 Sketch Book 22 - 23 More sketch book 24 - 25 Poster Design 26 - 27 Poster Design 28 - 37 Pop! End! Finish!
FONTS USED @
Baskerville
Double B ubble S hadow Magical Unicorn Minion Pro Avenir Next Times New Roman Euphemia UCAS
T Y P O G R A P H I C A L
BLACKLETTER Also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century.[1]
HAIRLINE In typeface anatomy, a hairline
is the thinnest stroke found in a specific typeface that consists of strokes of varying widths. Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device.
LIGATURE
Two or three characters joined as a single character; fi, fl, ffl, and ffi are the most common
DROPCAP
D
rop-cap. Noun. (plural drop caps) (typography) A large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.
LETTERSPACING In typography, letter-spacing,
usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning.
SERIF
The opening and closing cross strokes in the letterforms of some typecafes, Sans serif typefaces, as the name implies, do not have serifs but open and close with no curves and flourishes.
T E R M S
CALIGRAPHY Elegant handwriting, or the art of producing such handwriting. It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments. A contemporary calligraphic practice can be defined as, “the art of giving form to signs in an expressive, harmonious, and skillful manner”.
FRACTION In typesetting, a single keystroke or keystroke combination that builds customized fractions.
DINGBAT
In typography, a dingbat (sometimes more formally known as a printer’s ornament or printer’s character) is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames.
DISPLAY TYPE
Type used to attract attention, usually above 14 points in size
EGYPTIAN FONT In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.v
RAISED CAP
space size. For example, an em quad is the width of the point size, and an en quad is half that width. Raised cap A design style in which the first. capital letter of a paragraph is set in a large point size and aligned with the baseline of the first line of text. Compare to a drop cap.
DISPLAY FONTS
This is the last in the series of font categories. These are also known as Ornamental or Display fonts. Decorative and display fonts became popular in the 19th century and were used extensively on posters and advertisements.
DIDONE
is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: Narrow and unbracketed (hairline) serifs. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)
WOOD TYPE
Type made from wood. Formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical.
REVERSED In printing, refers to type that
dropsout of the background and assumes the color of the paper.
EM DASH Also called a long dash. A dash the width of an em - quad
CURSIVE
(also known as script or longhand, among other names), [note 1] is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts. The writing style can be further divided as “looped”, “italic”, or “connected”.
A
Character Studies | A
THE HISTORY OF THE LETTER A
The character comes from an ancient Egyptian hieroglyph or pictogram depicting an ox’s head. Interestingly, the original image was reminiscent of the modern letter K. The letter originally served as a glottal stop (a stop consonant) in the Phoenician language such as a t or p in the middle of a word. The Phoenician name, which must have corresponded closely to the Hebrew Aleph, was taken over by the Greeks in the form Alpha (alpsa). The earliest authority for this, as for the names of the other Greek letters, is the grammatical drama (grammatike Ieoria) of Callias, an earlier contemporary of Euripides, from whose works four trimeters, containing the names of all the Greek letters, are preserved in Athenaeus x. 453 d.
A CA I ET ED V L ND E E S H EXT I H D ds n T o sp niUT BOL e r O or hoe its c AB urs the P st all like o of l in lmo , a, not r e tt mbo in a ician did e l is st sy and oen or o, th- ot h a T t r h f A. the fi habe In P and a bre ere n n to n alp ants. for e , but lly w Whe . cia cend bols owel igina bol y the d to r des sym t a v els o y sym ted b fitte the resen vow y an adop well r lan re rep ; the ted b was very f thei h we rding resen abet s not ds o whic acco e rep alph it wa soun ings ere t som ls, w the eeks t the reath eek esen vowe y r r Gr resen he b in G rep ther ted b the rep ge. T ired ed to ds, o esen ls for a gu requ ploy soun repr mbo t no ly em owel being he sy ing the v d u, of t d w. of e i an tation y an lik adap wels an i-vo sem
@
CHARACTER STUDIES @ Whatever the origin of the @ symbol, the history of its usage is more well-known: it has long been used in Spanish and Portuguese as an abbreviation of arroba, a unit of weight equivalent to 25 pounds, and derived from the Arabic expression of “a quarter” (pronounced ar-rub).[8] An Italian academic claims to have traced the @ symbol to the 16th century, in a mercantile document sent by Florentine Francesco Lapi from Seville to Rome on May 4, 1536.[9] The document is about commerce with Pizarro, in particular the price of an @ of wine in Peru. In Italian, the symbol was interpreted to mean amphora (anfora). Currently, the word arroba means both the at-symbol and a unit of weight. In Italian, the symbol represents one amphora, a unit of weight and volume based upon the capacity of the standard amphora jar, and entered modern meaning and use as “at the rate of” or “at price of” in northern Europe. Until now the first historical document containing a symbol resembling a @ as a commercial one is the Spanish “Taula de Ariza”, a registry to denote a wheat shipment from Castile to Aragon in 1448. Even though the oldest fully developed modern @ sign is the one found on the above-mentioned Florentine letter.[9]
@
Created by Adobe type designer Carol Twombly, Chaparral combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering. The result is a versatile, hybrid slab-serif design, a unique addition to the Adobe Originals family of typefaces. Unlike geometric slab serif designs, Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light to bold. Like the drought-resistant brush that blooms on the arid coastal range near Twombly\‘s Californiahome, Chaparral?s highly functional design is surprisingly beautiful.
&
HISTORY OF THE AMPERSAND The ampersand can be traced back to the first century AD. It was originally a ligature of the letters E and T (“et” is Latin for and). If you look at the modern ampersand, you’ll likely still be able to see the E and T separately. The first ampersands looked very much like the separate E and T combined, but as type developed over the next few centuries, it eventually became more stylized and less representative of its origins. You can see the evolution of the ampersand below (1 is like the original Roman ligature, 2 and 3 are from the fourth century, and 4-6 are from the ninth century). The modern ampersand has remained largely unchanged from the Carolignian ampersands developed in the ninth century. Italic ampersands were a later ligature of E and T, and are also present in modern fonts. These were developed as part of cursive scripts that were developed during the Renaissance. They’re often more formal-looking and fancier than the standard Carolignian ampersand. The word “ampersand” was first added to dictionaries in 1837. The word was created as a slurred form of “and, per se and”, which was what the alphabet ended with when recited in English-speaking schools. (Historically, “and per se” preceded any letter which was also a word in the alphabet, such as “I” or “A”. And the ampersand symbol was originally the last character in the alphabet.) The ampersand is a part of every roman font. It’s used in modern text often, probably most frequently in the names of corporations and other businesses, or in other formal titles (such as Dungeons & Dragons).
& CHARACTER STUDIES | &
ABOUT TIMES NEW ROMAN Times New Roman gets its name from the Times of London, the British newspaper. In 1929, the Times hired typographer Stanley Morison to create a new text font. Morison led the project, supervising Victor Lardent, an advertising artist for the Times, who drew the letterforms. Because it was used in a daily news paper, the new font quickly became popular among printers of the day. In the decades since, typesetting devices have evolved, but Times New Roman has always been one of the first fonts available for each new device (includ ing personal computers). This, in turn, has only increased its reach. Objec tively, there’s noth ing wrong with Times New Roman. It was designed for a newspaper, so it’s a bit narrower than most text fonts— espe cially the bold style. (Newspapers pre fer narrow fonts because they fit more text per line.) The italic is mediocre. But those aren’t fatal flaws. Times New Roman is a workhorse font that’s been successful for a reason.
T
CHARACTER
ABOUT TIMES NEW ROM
Times New Roman gets its name fr of London, the British newspaper. Times hired typographer Stanley M ate a new text font. Morison led the p vising Victor Lardent, an advertising Times, who drew the letterforms. B used in a daily newspaper, the new became popular among printers of t decades since, typesetting devices h but Times New Roman has always b first fonts available for each new dev personal computers). This, in turn increased its reach. Objectively, th wrong with Times New Roman. It w for a newspaper, so it’s a bit narrow text fonts, especially the bold (News pa pers pre fer nar row fonts fit more text per line.) The italic is m those aren’t fatal flaws. Times New workhorse font that’s bee successful for a reason.
R STUDIES |T
MAN
rom the Times In 1929, the Morison to cre project, super g artist for the Because it was font quickly the day. In the have evolved, been one of the vice (including n, has only here’s nothing was designed wer than most d style. because they mediocre. But w Roman is a en .
Four thousand years ago, just as today, people who could not write used a simple cross to sign letters and formal documents. In fact, the first name for this ancient symbol actually meant “mark” or “sign.” One might logically assume that this common signature stand-in was the origin of our present X. But that’s not the case. Instead, what looked like an X to ancient writers eventually gave birth to the Roman T. How did that happen? Let’s go back to around 1000 B.C. During this time, the Phoenicians and other Semitic tribes used a variety of crossed forms to represent the letter they called “taw.” This letter, one of the first recorded, served two purposes: it represented the ‘t’ sound, and it provided a mark for signing documents that could be used by those who could not write their names. When the Greeks adopted the taw for their alphabet ten centuries later, they altered it slightly until it looked pretty much like what our T looks like today. The Greeks called this letter “tau.” The tau was passed on, virtually unchanged, from the Greeks to the Etruscans, and finally to the Romans.
STEPHAN SAGMEISTER
BIOGRAPHY
Biography Stefan Sagmeister, of design firm Sagmeister & Walsh, is a New York-based, Austrian graphic designer and famous typography designers who is very well known for his album cover design and has a reputation for producing really interesting and evocative typography art. Typography features heavily in his work and he uses a broad range of approaches to achieve his designs. Alongside his client-based work he conducts personally driven projects such as the ongoing ’20 Things I Have Learned in My Life So Far’ which includes his real-world typographic compositions named ‘Trying to Look Good Limits My Life’. This consists of 5 separate pieces spelling out the words of the sentence using natural and industrial materials arranged in 5 different environments. This maxim is also applied to a leather belt with the words created using punched out holes that also serve as the belt holes. This project represents the dilemma Sagmeister faces in his work whereby he always strives to be nice to people and loves to avoid conflict in life which somewhat relates to a fear of rejection. This, he feels, closes doors and limits what he does Stefan Sagmeister published Things I have learned in my life so far, a book born from a running list he keeps in his diary. With the support of his clients, Sagmeister began transforming these personal maxims into typographic artworks, which appeared on billboards, in magazines, and in public spaces all over the world. The result is an intriguing blend of personal revelation, visual audacity, and examination of the pursuit of happiness..
My Brochure
c
j
RUB SE
Graphics
j
RO
OF IN F
CHAN
RO
OFF N I
EL
Graphics
EL
RUB SE
Chanel Rose is a major key to success. The weather is amazing, walk with me through the pathway of success. Take this journey with me, Lion! We the best. Life is what you make it, so let’s make it. Let me be clear, you have to make it through the jungle to make it to paradise, that’s the key, lion! The Key is to have every key, the key to open every door. We don’t see them, We will never see them. To succeed you must believe. When you believe, you will succeed. Follow me through the pathway of more success. Take this journey with me, Lion!
A H C N
INFOGRAPHIC TEMPLATE
Chanel Rose Design seamlessly combines expertise in brand strategy, identity, digital, retail, environmental, product and service design to define and connect every aspect of a brand experience. We can start with a single touch point, or address holistic journeys for organizational and consumer brands, with a focus on delivering measurable business growth. Our work is hypothesis-driven, evidence-based and powered by rapid prototyping to help clients test, improve and deliver change to stay ahead of the market.
6034 Weeping Banyan ln Woodland Hills, CA, 91367 123 - 456 - 789 www.ChanelRose.com ChanelRubinoff@yahoo.com
“Branding is what people say about you when you are are not in the room.�
y Museu h p m Of Modern Typogra
Museum Of Modern Typography
MUSEUM OF MODERN TYPOGRAPHY
M Museum OMT of Modern Typography
Ubiquitous Type The presence of typography can be both good and bad, can be seen everywhere
Typography 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 letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hid- den. 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
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,6 and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these commandments, suggestions, and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose. 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 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.” 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.
MY SKETCHES
a a a a aa a a a a a aaaaaa a a a a a a a a a a a a a a a aaa aaa a
a
aa
a aaa aa a a a aaa aa a a a a aaa a a a a a a a
a
a
aa
a
aa
a
a
a
a
a
a
HELVETICA
M Museum OMT of Modern Typography
1962 GRAND AVE, LOS ANGELES CA 90015 WWW.MMBLA.COM
JUNE 21 SEPTEMBER 23
THE MUSEUM OF MODERN TYPOGRAPHY PRESENTS AN EXHIBIT OF MAX MIEDINGER’S
HELVETICA THE MUSEUM OF MODERN TYPOGRAPHY
M Museum OMT of Modern Typography
PRESENTS AN EXHIBIT OF MAX MIEDINGER’S
HELVETICA 1962 GRAND AVE, LOS ANGELES CA 90015 WWW.MMBLA.COM
JUNE 21 SEPTEMBER 23
MUSEUM OF MODERN TYPOGRAPHY
PRESENTS AN EXHIBIT OF MAX MIEDINGER’S
Helvetica JUNE 21 SEPTEMBER 23
M Museum OMT of Modern Typography
1962 GRAND AVE, LOS ANGELES CA 90015 WWW.MMBLA.COM
HELVETICA
THE
HELVETICA PRESENTS AN EXHIBIT OF MAX MIEDINGER’S
Helvetica THE
MUSEUM OF MODERN TYPOGRAPHY
JUNE 21 SEPTEMBER 23
1962 GRAND AVE, LOS ANGELES CA 90015 WWW.MMBLA.COM
M Museum OMT of Modern Typography
POP POP POP POP
! ! ! !
Pop week 1 pop
visual projects
issue one
volume seven
in this issue :
andy warhol
roy lichtenstein
jasper johns
larry rivers
frank o’ hara
Pop week 2 pop visual projects issue one
volume seven
in this issue :
andy warhol
roy lichtenstein
larry rivers
frank o’ hara
jasper johns
pop Pop week 3
visual projects
issue one
in this issue :
volume seven
andy warhol
roy lichtenstein
jasper johns larry rivers frank o’ hara
Pop week 4
pop
visual projects
issue one
volume seven in this issue :
andy warhol roy lichtenstein larry rivers frank o’ hara jasper johns
Pop week 5
volume seven
in this issue :
andy warhol issue one
visual projects
pop jasper johns larry rivers frank o’ hara roy lichtenstein
Pop week 6 pop
in this issue :
visual projects issue one volume seven
andy warhol
roy lichtenstein
jasper johns
larry rivers
frank o’ hara
Pop week 7
po
sev
en
l
ho
volume seven
jasper johns
pop
y riv
pop
ers
issue one visual projects
pop volume seven volume seven
larr
ue s s i s hi
in t
volume seven
p o p
andy warhol
pop
pop
ects j ne o o r p e al issu andy visu
ar
issue one issue one
p
p
w
in this issue :
po
dy an
visual projects
larry rivers frank o’ hara
jasper johns
pop
pop
warhol
p o p
larry rivers po
pop
p o p
:
jasper johns
in this issue :
me
in this issue :
volu
in this issue :
pop
p
frank o’ hara
roy lichtenstein
andy warhol
pop
Pop week 8
larry rivers
pop
pop
pop
pop pop
pop
pop
pop
pop
pop pop
pop
po
roy lichtenstein
pop
p pop pop
po
andy warhol
pop
op
p
frank o’ hara
pop
pop
pop
pop
pop
p
volume seven
pop
pop p op
pop
issue one
p o p pop
in this issue :
visual projects
pop
pop
pop
p
po
Pop week 9
roy lichtenstein
p
po
pop
pop
pop
p
pop p o popp op p p po p o p p o p
po
pop
p
po
p
pop
p o p
pop
p
pop
pop
po
p
pop pop
pop
po
andy warhol
po
p
frank o’ hara
pop
op p pop
larry rivers
pop p op
po
p
pop
p o p
p
po
volume seven
p o p
pop
issue one
in this issue : in this issue :
visual projects
op
pop
pop
pop
pop
p
po
END Thank You