p typo
graphy
O RTF O LI O
Personal Logo
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k H
hailey kim design
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portfolio table
of contents
6
16
an introduction
sketchbook
8
18
ampersand logos
character study
10
20
typographical terms
business card + resume
12
22
ubiquituous type layout
snap project
14 typographical poster
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An Introduction
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has totally changed since I came to the U.S. At that time, I was 19 and had to live alone with various sufferings. Learning English was the hardest part of staying in America. After 3 years, I got admitted to University of California San Diego and Riverside in Business major because I was preparing transfer for 3 years in College. My parents wanted me to get BA degree but I wasn’t sure. When I was in Korea, I had learned drawing and design until high school
and I loved it. Felt like I forgot my dream and passion. So I decided to study for design, especially beloved graphic design at FIDM. It’s my 3rd quarter but I’ve learned a lot and met good people until now, and my dream is getting sure. Being an art director at fashion magazine and freelancer as graphic designer are my dream jobs for now. Later, I want to own my graphic design company if I get popular and have money in the future.
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Ampersand Logos
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&
AMPERSAND DESIGN
FONT didot 100pt. dolce vita light 10pt.
&
ampersand design
FONT grind zero 110pt. bebas neue 10pt.
ampersand design
FONT hand-lettering. fiesta 10pt.
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Typographic Terms Hope Love
Hailey Kim calligraphy
cursive
C
opying only the changed blocks can save bandwidth and time, especially over a slow connection. When copying between local disks or in a LAN environment, it can save bandwidth too, but may not always save much copying time, because
T
Caps and Small Caps
read in its entirety every time in order to deter mine the changed blocks. Only block-oriented for block-level copying. Outlook PST, as well as drive images and virtual hard disk images (VMs).
Drop cap
EVERYDAY woodtype
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-
ABCabc123.,?!#@: font
Years italic
Ž glyph
hyeyeon oblique
� swash
23 48 Folio
M blackletter
❦ dingbat
T
pie
Æ
A
UP
down
reversed
ligature
upper case
TRANSITIONAL FONT
Egyptian font
lower case
hairline rule
Line expanded font
• bullet
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I am taking typography class this quarter and it is very interesting.
12 pt. rule
Ubiquitous Type:
A repor t on public typogra phy
T H E P R E S E N C E O F T Y P O G R A P H Y B OT H G O O D A N D B A D , C A N B E S E E N E V E RY W H E R E .
❉❉
By Milton Galaser
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 hidden.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 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 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 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.
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.” 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
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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.” 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. 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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Typographic Poster
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AN exhibition o f A t y p e fa c e b y
Maximiliano sproviero
Born in Buenos Aires, Argentina, 1987. Graduated as a Graphic Designer from Universidad de Buenos Aires in 2010. He specializes in calligraphy and type-design. His creations have been used and awarded around the world. Valeria Script, Kalligrand, Intima Script, Oh Lara, Quijote Savage, and Mon Amour Script are all broad-pen influenced calligraphic scripts marked by clumsy letterforms,excessive swashes.
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Sketchbook My name with Chinese letters
Korean Calligraphy
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Pen hand lettering (different styles)
My Korean name
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character studises
letter “f”
The Letter Didot is a name given to a group of typefaces
named after the famous French printing and type producing family. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot (1764–1836) cut the letters, and cast them as type in Paris.
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T
he origin of ‘F’ is the Semitic letter vâv (or waw) that represented a sound like /v/ or /w/. Graphically it originally probably depicted either a hook or a club. It may have been based on a comparable Egyptian hieroglyph. The Phoenician form of the letter was adopted into Greek as a vowel, upsilon (which resembled its descendant, ‘Y’ but was also ancestor of Roman letters ‘U’, ‘V’, and ‘W’); and with another form, as a consonant, digamma, which resembled ‘F’, but indicated the pronunciation /w/, as in Phoenician. (After /w/
THE
disappeared from Greek, digamma was used as a numeral only.) In Etruscan, ‘F’ probably represented /w/, as in Greek; and the Etruscans formed the digraph ‘FH’ to represent /f/. And so out of the various vav variants in the Mediterranean world, the letter F entered the Roman alphabet attached to a sound which its antecedents in Greek and Etruscan did not have. The Roman alphabet forms the basis of the alphabet used today for English and many other languages.
SIXTH
LETTER
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Business Card + Resume Hk
graphic design
HAILEY KIMm graphic design
714.270.3598 hykim814@gmail.com https://www.facebook. com/hyeyeon.kim.756
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Hk
graphic design
HAILEY KIM curriculum vitae
Profile • Born in Seoul, South Korea in 1990 • Came to the U.S in 2009 • 411 S. Virgil Ave. #203 Los Angeles, CA 90020 • hykim814@gmail.com • (714)270-3598
Experience • Designed friend’s store wall design (2013) • Designed a small brand’s logo (2014) • Internship (2014)
Interests • Graphic Design • Watching Movies • Dancing • Fashion • Swimming • Hiking • Photography
Languages Korean – native––– English
Education • Graduated Seoul Girls’ High School in Korea • California State of University Fullerton American Language Program (2009) • Fullerton College / studied Business and got admitted to UCSD (2010-2013) • FIDM (2013-2015)
Skills
Basic
good
✪ Other skills in Microsoft Office: Word, Excel, Powerpoint
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expert
snap
Project
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snap the arts journal
volume seven
issue one
in this issue;
noam chomsky
william burroughs
anyn rand
fabina barone
paula scher
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snap
the arts journal issue one volume seven in this issue;
noam chomsky
william burroughs
anyn rand
fabina barone
paula scher
24 Kim portfolio winter 2014
snap
the arts journal
in this issue;
noam chomsky
issue one
fabina barone
william burroughs
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volume seven
anyn rand
paula scher
snap issue one
the arts journal
william burroughs anyn rand
fabina barone
noam chomsky
volume seven
paula scher
26 Kim portfolio winter 2014
in this issue;
snap the arts journal
noam chomsky
issue one volume seven in this issue;
william burroughs
anyn rand
fabina barone
paula scher
Kim portfolio winter 2014 27
snap
the arts journal
noam chomsky
william burroughs
issue one
volume seven
in this issue;
anyn rand
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fabina barone
paula scher
the arts journal issue one
snap anyn rand
volume seven
anyn rand
in this issue;
paula scher
noam chomsky
anyn rand
fabina barone
noam chomsky noam chomsky
william burroughs
noam chomsky
william burroughs william burroughs william burroughs william burroughs
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snap noam chomsky
william burroughs
fabina barone
anyn rand
paula scher
the arts journal
in
is
th
issue one
;
ue
iss
volume seven
30 Kim portfolio winter 2014
snap the arts journal issue one volume seven in this issue;
fabien barone fabien barone noam chomsky noam chomsky
anyn rand anyn rand
william burroughs william burroughs
paula scher paula scher
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