Christian |GRAPHICDESIGN
I
have a keen interest in everything to do with branding, graphic design and typography, you can call it a little bit of an obsession. My name is Christian Alvarado and I’m a graphic designer with an interest in various forms of art. These are just few examples to say who I am and what I do every day. In this composition you will find information about me and you will see some works I have done so far. I’ve began my journey by expanding my education at The Fashion Institute of Design & Merchandising. Although young in age, I possess the potential to achieve devastating heights. Join me as I master the art of design.
I D E N T I T Y
Christian |GRAPHICDESIGN
CHRISTIAN ALVARADO
Birthday Address Phone E-mail Web
AUGUST 12,1993 (18) 2709 OHIO AVE. SOUTH GATE,CA. 90280 323-418-1082 chris.skeme@gmail.com www.skeme.org
OBJECTIVE A position as a senior graphic artist that utilizes my sharp skills in desktop publishing.
EDUCATION
Fashion Institute of Design and Merchandising
2011-Present
919 South Grand Avenue, Los Angeles (213) 624-1200 Associates Degree in Graphic Design
South East High School
2007-2011
2720 Tweedy Boulevard South Gate, CA 90280 (323) 568-3400
WORK HISTORY
The Charlie Lapson Group
2012
110 East 9th Street, Suite C751 Los Angeles, CA 90079
[Internship]
Densitron Displays
2012
www.Densitron.com
[Internship]
SKILLS Adobe Photoshop
Adobe Illustrator
Adobe InDesign
Mac & PC
Languages: English Spanish
LD EOS G O I G N
Christian |GRAPHICDESIGN
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Christian |GRAPHICDESIGN
LUXURY WHERE YOU MOST EXPECT IT.
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T Y P E The presence of typography both good and bad, can be seen everywhere.
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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 letter- forms 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 something more than a short manual of typographic 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,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. 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 thoroughfares 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 precisely the use of a road: to reach individually
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Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.
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
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written and photographed by: Christian Alvarado
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.
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NEUENSCHWANDER
Brody Neuenschwander was born in Houston, Texas in 1958. He attended Princeton University, where he was appointed University Scholar, graduating in 1981 with high honors for his thesis on the techniques of medieval manuscript illumination. Neuenschwander completed his doctorate on the methodology of German art history in
things that were made by human hands. The structure of the atelier and the properties of the materials are as important to him as the social context of their creation.
charged with emotions and historical associations? Can it represent in visual terms sound patterns of the language? Can it explore the tense region between text and image?”
Neuenschwander began his professional career as assistant to Donald Jackson, an English calligrapher living on the Welsh borders. For
In subsequent collaborations (“The Pillow Book”, “Flying over Water”, “Bologna Towers 2000”, “Columbus”, “Writing to Vermeer”
to formal analysis and judgment. Burgert replaces traditional Western standards of precision and regularity by a new formal language, one that is much closer to the esthetic judgments inherent in Arabic and Chinese calligraphy. Neuenschwander subsequently translated many of Burgert’s writings into English, which natural-
attraction, could be analyzed and understood, not linguistically, but visually. The image-nature of these writing systems could surface. Arabic and Chinese calligraphy have influenced his work ever since. In 1989 Neuenschwander met Nadine Le Bacq, who would become his wife in
“Can calligraphy be charged with emotions and historical associations? Can it represent in visual terms sound patterns of the language? Can it explore the tense region between text and image?” 1986 at the Courtauld Institute in London. At the same time he studied calligraphy at the Roehampton Institute. The cross-fertilization that resulted from doing academic and practical studies simultaneously has influenced all his subsequent work. The objects studied by art historians are, for Neuenschwander,
a year Neuenschwander did studio work, mostly traditional ceremonial pieces. In 1989 Neuenschwander met the English film director Peter Greenaway, who asked him to provide live-action calligraphy for the film “Prospero’s Books”. Greenaway asked pertinent and challenging questions: “Can calligraphy be
and so on) the implications of these questions for contemporary calligraphy would be worked out. In 1990 Neuenschwander met the German theoretician Hans-Joachim Burgert, whose analysis of the visual properties of calligraphy is essentially a classic German Gestaltungstheorie. Letterforms are subjected
ly allowed him to form a deeper understanding of Burgert’s theory and has led to this theory being studied and adopted by other calligraphers in the West. For Neuenschwander this new theory was a revolution. Suddenly the calligraphy of the East, which had always exerted an enormous
1991. They moved to her home town Bruges in 1993, where they now live with their daughter Clara. In 2004 Neuenschwander spent a semester teaching text art at the School of the Museum of Fine Arts in Boston. This sabbatical from the artist’s studio allowed him to
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Christian |GRAPHICDESIGN