Final scottduenasiii typesp13 by Randy Dunbar

DUENAS/SPING2013

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DUENAS/SPING2013

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Contents 6 8 14 23 25 27 29 ubquitous typography times

brochure design times|arial

SNAP! PRoject Gill sans

character study arial|times

lyrics poster octin sports

sketch book

type poster butterfield

DUENAS/SPING2013

UBIQUITIOUS TYPE

THE ART

DUENAS/SPING2013

By: Scott Duenas III

ypography makes at least two kinds tmakes 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 letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from the bottom 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 onb 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 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. 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 tythey 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. DUENAS/SPING2013

BROCHURE

DUENAS/SPING2013

SNAPS!

snap! the art + design journal

alvin lustig andy warhol paul rand milton glaser michael bierut paula scher alex steinweiss saul bass cipe pineles massimo vignelli

Issue No.8 vol.12

DUENAS/SPING2013

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snap! the art + design journal Issue No.8 vol.12

DUENAS/SPING2013

snap!

the art + design journal

Issue No.8 vol.12

alvin lustig

cipe pineles

andy warhol paul rand

saul bass alex steinweiss

milton glaser

michael bierut

DUENAS/SPING2013

paula scher massimo vignelli

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DUENAS/SPING2013

the art + design journal

milton glaser saul bass andy warhol cipe pineles alvin lustig

paul rand alex steinweiss massimo vignelli paula scher michael bierut

DUENAS/SPING2013

Issue No.8 vol.12

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DUENAS/SPING2013

!pans the art + design journal Issue No.8 vol.12

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DUENAS/SPING2013

snap! the art + design journal Issue No.8 vol.12

alvin lustig paul rand cipe pineles milton glaser andy warhol alex steinweiss michael bierut massimo vignelli saul bass paula scher

DUENAS/SPING2013

CHARACTER STUDY

S CHARACTER STUDY

ARIAL

DUENAS/SPING2013

Character Study #2

Is X really necessary? Fewer words in the English language start with X than with any other letter. Its sounds are easily rendered by the ‘z’ or ‘ks’ combination. The Phoenicians had no use for the ‘x’ sound, and many scholars contend that the Greeks did not use the letter to represent a phonetic sound. Even the Romans were not exactly sure where to use the letter, and stuck it at the end of their alphabet. The Phoenician ancestor to our X was a letter called “samekh,” which meant fish. Although some historians argue that the character represented a post or support, with only a small stretch of the imagination the drawn character can be seen as the vertical skeleton of a fish. When the Greeks adopted the Phoenician alphabet they left some of the Phoenician sibilant letters behind, taking only those that represented sounds the Greeks required. The ancestor to our X, which represented a sharp ‘s’ sound, was one such letter. The Phoenician samekh became the Greek "xi," which had different sound values in the Eastern and Western Greek alphabets.

X Factor is an open audition singing show which you will be guided with by coaches who have reached their goal in performing arts. X Factor is just one of the many shows to showcase talent.

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LYRIC POSTER

“ONE LOVE” -BOB MARLEY

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TYPE POSTER

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