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An exploration of the history,usage and
terminology type graphic
as used in the
ARTS
of
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Fall 2011 Yuranni Contreras Fashion Institute of Design & Merchandising
uranni ontreras Graphic Design
uranni ontreras
Y
uranni stands for “cara de luna” which translates to “the face of the moon” in English. My name was given to me by my father who got the name in a movie in which the daughter of a chief of a Mexican Indian tribe was named Yuranni. Born in Mexico and raised in beautiful Los Angeles, I have always been an artist at heart. I discovered my passion for art in high school and it was very different than what it is today. I first learned graphic design in a more artful way. While pursuing my degree in Marketing at CSULB, I also studied graphic design and it just wasn’t taking the best out of me. It was until I came to the Fashion Institute of Design and Merchandise that I learned about design in a whole new way. I believe that every designer has his/her own sense of style in graphic design. As for me, I am very passionate about logo design, and marketing collateral design. In order to create good design, one must possess a vision of the final product. This vision begins with a process of reworked art from initial to final stages until we get to that vision in our minds that make us love it forever.
IDENTITY
yuranni.c@gmail.com cell: (310) 989-0754
uranni ontreras Graphic Design
CURRICULUM VITAE
3912 W. 178th St. #D Torrance, CA 90504 yuranni.c@gmail.com Cell: (310) 989-0754
YURANNI CONTRERAS Skills Summary
✦✦ Advertising campaign and marketing plan ✦✦ Adobe Creative Suite CS5: Photoshop, Illustrator, and InDesign ✦✦ Marketing strategies and social media platforms ✦✦ Strong interpersonal skills ✦✦ Data collection, project assistance, and keen analytical ability ✦✦ Proficient in Macintosh and PC ✦✦ Microsoft Office Suite: Word, PowerPoint, and Access ✦✦ Fluent in spoken and written Spanish
Work Experience
American Honda Motor Company, Inc. Student Associate - 11/08-Present Jenny Craig Customer Service Coordinator - 08/06-11/08 EXPRESS Sales Associate -05/06-08/06
Education
Fashion Institute of Design and Merchandising Los Angeles, CA Graphic Design -Branding Continuing education: June 2012
California State University, Long Beach Long Beach, CA Bachelor of Science in Business Administration: Marketing Graduation Date: May 2011
Awards and Recognitions ✦✦ Quality Improvement Team-Peer Recognition Award for Outstanding Performance and Service, 2011 ✦✦ CSULB Certificate of Proficiency in Competent Language Usage Essentials Business Communication, 2010
uranni ontreras Graphic Design
RESTAURANT + SPA
AMPERSAND DES
IG N ST UDI
O
LIGATURE PRESS ESTABLISHED 1990
uranni ontreras Graphic Design
Because we are the year of the dragon.
â??Typography is the craft of endowing human language with a durable visual form, and thus with an independent existenceâ?ž
Ubiquitous Type:
A report on public typography
The presence of typography both good and bad, can be seen everywhere. By Yuranni Contreras
T
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 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 ethiwcs 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 rightthinking human beings are struggling to remember that other men and women are free to be different,6and 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 havea 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. 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.
Zuzana Licko
Founder of EmigrĂŠ Design
L
icko was born in Bratislava, Czechoslovakia, in 1961, and moved to the United States at the age of seven. Her father, a biomathematician, provided her with access to computers and the opportunity to design her first typeface, a Greek alphabet, for his personal use. She entered the University of California at Berkeley in 1981 as an undergraduate. She had planned to study architecture, but changed her major to visual studies and pursued a graphic communications degree. Being left-handed, she hated her calligraphy class, where she was forced to write with her right hand. She founded the design team Emigré Design with her husband Rudy VanderLans in 1984, and together they produced the critically acclaimed Emigré journal, which included Licko’s digital typeface
designs.Emigré was originally intended as cultural journal to showcase artists, photographers, poets, and architects. The first issue was put together in 1984 by VanderLans and two other Dutch immigrants. Since there was no budget for typesetting, the text was mostly typewriter type that had been resized on a photocopier. Working with the newly invented Macintosh computer and a bitmap font tool, Licko began creating fonts for the magazine. Emperor, Oakland, and Emigré were designed to accommodate low-resolution printer output. They were used in issue two, and, after several readers inquired about their availability, she began running ads for them in issue three. In 1985, Licko and Vanderlans launched Emigré fonts to allow them to market their own typefaces and those of other young designers.
Western
Romantic
Art Deco
STAR WARS Condensed
Modern
Distressed
Art Noveau
Star Wars Script
Old English
Classic
Extended
“ A picture is worth 1,000 words, but better yet, 1,000 words create a wonderful picture.�
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uranni ontreras Graphic Design