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reative. Inspired. Motivated. Like a sponge I like to learn and soak in everything new that surrounds me, I want to create stuff with my two hands, I wanna allow people to witness the kind of world I live in. Breathing on this earth for two decades and living in a world where society expects individuals to grow up and leave their early ways at a young age, found in the endless well of thought deep within my head is a boy that cannot stand still watching television or sit around and do nothing. The scribbles on the wall is my art on a canvas and the favorite toy is my MacBook pro. Born in family of a loving mother and father with four sisters, responsibility came early. To protect and lead the house when the hardworking father was out, so respect was then learned through the five females that returned it when given. Showing my true colors through hardwork and dedication, the love for Graphic Design, Fine Art, and Photography have flourished to something great to innovate others.
Design at its Finest
[p] 562 229-8765 [e] Ramoseric92@yahoo.com [a] 3419 Hadley Dr Mira Loma Ca
Identity
Eric Ramos [p] 562 229-8765
[e] Ramoseric92@yahoo.com
General Information
Design Proficiency
Education
[a] 3419 Hadley Dr Mira Loma Ca
Male 19 Fine Art Painting. Exercising. Traveling. Music. Family. Reading. Football. Documentaries Ad Design Corporate Logo Identities Editorials Painting Photography Sketching Typography 2011-Present Fashion Institute Of Design & Merchandise Graphic Design Diploma 2006-2010 Eleanor Roosevelt High School GED
Technical Proficiency
Field Experience
Mac/Windows Platforms Adobe Illustrator Adobe Indesign Adobe Photoshop Microsoft Office Acrylic/Latex/SprayPaint/Watercolor Pencil Free Lance Work: 2011 Student Agenda Design for ERHS(Corona) 13th Anniversary Event Poster for Ehecatl Dance Co. (Los Angeles) The Shop (Barbershop)� Logo and Mural Painting (Eastvale) Event Photography for Mexican House of Culture (Inglewood) Mixtape Cover/TShirt Design/Name Logo for B.Richey (Riverside)
Man Is The Measure Of All Things- Protagoras
Logo Designs
Advertising
Ubiquitous Type: A report on public
typography 54
February 03, 2012
By Milton Glaser
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Arts Magazine
The presence of typography both good and bad, can be seen everywhere. ypography makes at least two kinds of sense, if it makes of departure. By all means break the rules, and break them beautifully, any sense at all. It makes visual sense and historical sense. deliberately, and well. That is one of the ends for which they exist. Letterforms change constantly, yet differ very little, because they The visual side of typography is always on display, and materials for the study of its visual form are many and are alive. The principles of typographic clarity have also scarcely altered widespread. The history of letter- forms and their usage since the second half of the fifteenth century, when the first books were is visible too, to those with access to manuscripts, inscriptions and printed in roman type. Indeed, most of the principles of legibility and old books, but from others it is largely hid- den. design explored in this book were known and used by Egyptian scribes This book has therefore grown into some-thing more than a short writing hieratic script with reed pens on papyrus in 1000 B.C. Samples manual of typo-graphic etiquette. It is the fruit of a lot of long walks of their work sit now in museums in Cairo, London and New York, still in the wilderness of letters: in part a pocket field guide to the living lively, subtle, and perfectly legible thirty centuries after they were made. systems vary, but a good page is wonders that are found there, and in part a meditation on the ecological Writing hard to learn to recognize, whether it comes principles, survival techniques, and ethics that apply. The principles not of typography as I understand them are not a set of dead conventions from Tang Dynasty China, The Egyptian New Kingdom typographers but the tribal customs of the magic forest, where ancient voices speak set for themselves than with the mutable or Renaissance Italy. The from all directions and new ones move to unremembered forms. principles that unite these distant schools of design are based on the One question, nevertheless, has been often in my structure and scale of the human body - the eye, the hand, and the forearm mind. When all right-thinking human beings are struggling to in particular - and on the invisible but no less real, no less demanding, remember that other men and women are free to be different,6 no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they and free to become more different “Typography is the craft of endowing human are largely unique to our species. still, how can one honestly language with a durable visual form, and thus Dogs and ants, for example, read write a rulebook? What reason with an independent existence.” and write by more chemical means. and authority exist for these commandments, suggestions, and instructions? Surely typographers, like But the underlying principles of typography are, at any rate, others, ought to be at liberty to follow or to blaze the trails they choose. stable enough to weather any number of human fashions and fads. Typography is the craft of endowing human language with Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and directions. A typographer a durable visual form, and thus with an independent existence. determined to forge new routes must move, like other solitary travellers, Its heartwood is calligraphy - the dance, on a tiny stage, of through uninhabited country and against the grain of the land, crossing It is true that typographer’s tools are presently changing with considerable common thoroughfares in the silence before dawn. The subject of this book force and speed, but this is not a manual in the use of any particular is not typographic solitude, but the old, well- travelled roads at the core typesetting system or medium. I suppose that most readers of this of the tradition: paths that each of us is free to follow or not, and to enter book will set most of their type in digital form, using computers, but and leave when we choose - if only we know the paths are there and have I have no preconceptions about which brands of computers, or which a sense of where they lead.That freedom is denied us if the tradition is versions of which proprietary software, they may use. The essential concealed or left for dead. Originality is everywhere, but much originality elements of style have more to do with the goals the living, speaking is blocked if the way back to earlier discoveries is cut or overgrown. If hand - and its roots reach into living soil, though its branches may be you use this book as a guide, by all means leave the road when you wish. hung each year with new machines. So long as the root lives, typography That is pre- cisely the use of a road: to reach individu- ally chosen points remains a source of true delight, true knowledge, true surprise✷
typography 55
Edward Benguiat No. 20
A B C D E F G H I J K L M N
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nown for his designs or redesigns of the logotypes for Esquire, The New York Times, McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Ledger, The San Diego Tribune, Garamond AT&T, A&E, Estee Lauder, U&lc...the list goes on and on. You name it, he’s done it.
Born Ephram Edward Benguiat in 1927, he grew up in Brooklyn, New York, Edward Benguiat got acquainted with design and showcard lettering when he was nine years old. His father was display director at Bloomingdale’s and he had all the drawing tools a little boy could want. Edward would play with his father’s pens, brushes, and drafting sets, and learned about sign painting, showcard and speedball lettering. Before the Second World War, he had a promising career as a jazz percussionist, and he picked this up again after serving with the Air Corp - which he joined with the aid of a forged birth certificate - during the war. However, acknowledging that a music career could see him still playing at bar mitzvahs as an old man, he used the GI bill to go to college. He enrolled at the Workshop School of Advertising Art, training as an illustrator. After his studies, he changed tack, working as a graphic designer and art director. And he is a prolific typeface designer, with over 600 typefaces to his credit, including ITC Tiffany, ITC Bookman, ITC Panache, and the eponymous ITC Benguiat, as well as logotypes for The New York Times, Playboy, and Sports Illustrated. He is also credited with playing an important role in the establishment of ITC.
cluding a gold medal from the New York Type Directors Club and the prestigious Fredric W. Goudy Award. An avid pilot with his own personal plane, he currently teaches at the School of Visual Arts in New York. He also lectures and exhibits internationally. ♦
E
MODERN NO. 20
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Edwardian Script
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ITC Bookman
.His work has won him acclaim, in-
N O P Q R S T U V W X Y Z
Fontificate
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western
Star Wars romantic
Star Wars
Star Wars
Star Wars distressed
modern
Star Wars Old English
Star Star Star Wars Wars Wars art deco
Star Wars condensed
art noveau
Star Wars script
classic
Star Wars extended
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“TYPE IS THE MEASURE OF ALL DESIGN” -ER