Cienfuegos

E D U C AT I O N : The Art Institute of California-Hollywood Graphic Design Fa l l 2 0 0 9 - Wi nte r 2 0 1 1 Fa s h i o n I n s t i t u t e o f D e s i g n & M e r c h a n d i s e Graphic Design / Branding Fall 2011 - Current EXPERIENCE Freelance Jobs L a y o u t D e s i g n / F ID M M O D E m a g a z i n e Fa s h i o n I n s t i t u te o f D e s i gn & M e rc h a n d i s e / Fa l l & Wi nte r 2 0 1 1 Newsletter Design Th e Ar t I n s t i t u te o f Ca l i fo r n i a - H o l l y wo o d / S p r i n g 2 0 1 1 B i r t h d a y I nv i t a t i o n / January 2011 Graphic Designer/ Photographer R o j a s B o u t i q u e / June 2010 - July 2010 Cat a l o g d e s i gn fo r t h e s u m m e r c l o t h i n g l i n e + p h o to gra p h e r fo r c l o t h i n g l i n e p h o to s h o t + i n c h a rg e o f u p l o a d i n g i m a g e s o nto t h e we b s i te a n d f a ce b o o k u p TECHNIQUES Adobe Programs Adobe Illustrator CS4 / CS5 Adobe InDesign CS4 / CS5 Adobe Photoshop CS4 / CS5 Platforms Mac OS W i n d o w s X P, V i s t a & Windows 7 Other: M i c ro s o f t Wo rd 2 0 0 7 Microsoft Excell 2007 Wo rd Pre s s

Enter the year in a more balance place

RESERVATIONS: b e i j i n h o t e l & r e s o r t . c o m

T

Ubiquitous

these distant schools of design are based on the structure and scale of the human body the eye, the hand, and the forearm in

A typographer determined to forge new routes must move,

particlar and on the invisible but no less real, no less demanding,

like other solitary travellers, through uninhabited country and

no less sensuous anatomy of the human mind. I don’t like to call

against the grain of the land, crossing common thoroughfares

these principles universals, because they are largely unique to

in the silence before dawn. The subject of this book is not

our species. Dogs and ants, for example, read and write by more

typographic solitude, but the old, well- travelled roads at the

chemical means. But the underlying principles of typography

ypography makes at least two kinds of sense, if it makes

core of the tradition: paths that each of us is free to follow or

are, at any rate, stable enough to weather any number of

any sense at all. It makes visual sense and historical sense.

not, and to enter and leave when we choose if only we know

human fashions and fads.

The visual side of typography is always on display, and

the paths are there and have a sense of where they lead.That

materials for the study of its visual form are many and

freedom is denied us if the tradition is concealed or left for dead.

widespread. The history of letter- forms and their usage is

Originality is everywhere, but much originality is blocked if the

visible too, to those with access to manuscripts, inscriptions

way back to earlier discoveries is cut or overgrown. If you use

and old books, but from others it is largely hidden.

this book as a guide, by all means leave the road when you wish.

YPE

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

Typography thrives as a shared concern and there are no paths at all where there are no shared desires and directions.

This book has therefore grown into some-thing more than

That is precisely the use of a road: to reach individu- ally chosen

a short manual of typographic etiquette. It is the fruit of a lot

points of departure. By all means break the rules, and break

of long walks in the wilderness of letters: in part a pocket field

them beautifully, deliberately, and well. That is one of the ends

guide to the living wonders that are found there, and in part a

for which they exist.

meditation on the ecological principles, survival techniques, and

Letterforms change constantly, yet differ very little, because

“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

ethics that apply. The principles of typography as I understand

they are alive. The principles of typographic clarity have also

durable visual form, and thus with an independent existence. Its

them are not a set of dead conventions but the tribal customs of

scarcely altered since the second half of the fifteenth century,

heartwood is calligraphy - the dance, on a tiny stage, of It is true

the magic forest, where ancient voices speak from all directions

when the first books were printed in roman type. Indeed, most of

that typographer’s tools are presently changing with consider-

and new ones move to unremembered forms.

the principles of legibility and design explored in this book were

able force and speed, but this is not a manual in the use of any

known and used by Egyptian scribes writing hieratic script with

particular typesetting system or medium. I suppose that most

When all right-thinking human beings are struggling to

reed pens on papyrus in 1000 B.C. Samples of their work sit now

readers of this book will set most of their type in digital form, us-

remember that other men and women are free to be different,

in museums in Cairo, London and New York, still lively, subtle,

ing computers, but I have no preconceptions about which brands

and free to become more different still, how can one honestly

and perfectly legible thirty centuries after they were made.

of computers, or which versions of which proprietary software,

One question, nevertheless, has been often in my mind.

write a rulebook? What reason and authority exist for these

Writing systems vary, but a good page is not hard to learn

they may use. The essential elements of style have more to do

commandments, suggestions, and instructions? Surely

to recognize, whether it comes from Tang Dynasty China, The

with the goals the living, speaking hand - and its roots reach into

typographers, like others, ought to be at liberty to follow or to

Egytian New Kingdom typographers set for themselves than

living soil, though its branches may be hung each year with new

blaze the trails they choose.

with the mutable or Renaissance Italy. The principles that unite

machines. So long as the root lives, typography remains a source

L

uca Barcellona is 32 years old. He has his own studio in Milan, where he works as a freelance graphic designer and calligrapher. Letters are the main ingredient of his creations. He teaches calligraphy with the Associazione Calligrafica Italiana and holds workshops in several European cities. The means of his work is to make the

manual skill of an ancient art as writing and the languages and instruments of the digital era coexist. In 2003 he founded with Rae Martini and Marco Klefisch the collective Rebel Ink, with which he gives life to a live exhibition of calligraphy, writing and illustration. In 2009 he has worked for the National Museum of Zurich, with calligraphist Klaus Peter Schaffel, to realize the faithful reproduction of a big globe dated back to the 1569, using calligraphy with original materials (quill and natural inks). Among the brands that requested his lettering we can number Carhartt, Nike, Mondadori, Zoo York, Dolce&Gabbana, Sony BMG, Seat, Volvo, Universal, Eni. Among his latest collective exhibitions: “Oscuro Scrutare”, at the Patricia Armocida Gallery in Milan, the project “Some Type of Wonderful” in Melbourne/Sidney and “Don’t Believe the Type” (Den Haag). As well as taking part to several independent projects his works appeared in many publications; the latest were on american magazine “Letter Arts Review”, “Calligraphy and Graphic Design” by Marco Campedelli, and the books “Playful Type 2”, “Los Logos 5” and “Arabesque 2”, published by Gestalten.

-let type talkHERB LUBALIN