Personal Logo
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Portfolio
Table
of
Contents
1
Cover Page : Disclaimer. Hand Letering.
3
Personal Logo : Zaphino. Helvetica Light. Helvetica Bold.
5
Table of Contents : Zaphino. Helvetica Neue Light. Didot. Baskerville. Baskerville Old Face.
6-7
Introduction : Zaphino. Helvetica Bold. Didot.
9
Ampersand : Apple Chancery. Helvetica. Bangla. Adele. Hand Lettering.
11
Typography Terms : An assortment of many different fonts.
12 - 13
Ubiquitous Type : Baskerville. Abadi MT Condenced Extra Bold.
15
Typographer Poster : Caslon. Didot.
17
Sketch Book : Rubber Stamp Lettering. Pencil & Paint Hand Lettering. Cut Out Lettering.
19
Character Study : Baskerville. Baskerville Old Face. Helvetica Neue Bold. Ancient Greek.
20 - 21
Business Card & Resume : Helvetica Light. Helvetica Bold. Zaphino.
22 - 31
Snaps Exercise : Gill Sans Regular. Gill Sans Bold.
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An Introduction
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�ello
My name
is Victoria Folino
and I am a currently studying Graphic
Design at the Fashion Institute of Design and Merchandising. As a child I used
up the sport of snowboarding with her, which meant i had to buy a snowboard. I When buying a snowboard, besides picking the right size board, its all about which
to record and edit short video episodes
graphic you want on your board. After
that i posted to youtube, always trying
many hours spent in complete admiration
new special effects and self tought
of all the graphics on the snowboard and
myself how to do the video editing.
skiis in the shop, I absolute fell in love with
Because of this interest in editing, I
the idea of graphic design and at that time
decided to take a Digital Media class
i knew thats what i wanted to further my
as well as a Graphic Communications
education in. That day I bought my favorite
class in Highschool which helped me
girls snowboard, with absolutely beautiful
in realizing how interest in Photoshop
graphics. My snowboarding hoby didnt last
as well as Illustrator. In my senior year of highschool, my friend asked me to take
long, but I’ll hold on to that beautifully designed board for a long time.
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Ampersand logo practice
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&
Ampersand Design
FONT Apple Chancery 108 PT. Helvetica 14 PT.
&
AMPERSAND DESIGN
FONT Bangla MN 108 PT. Helvetica 14 PT.
AMPERSAND DESIGN
FONT Adele 108 PT. Helvetica 14 PT.
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Typography Terms
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U
A report on public typography
biquitous Type:
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�
The presence of typography both good and bad, can be seen everywhere.
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By Milton Glaser
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 precisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is
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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.
Typographer Poster
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an
EXHIBITION
of
t ypefaces • by
March 24
WI L L IAM
William Caslon (1693 – 23 January 1766) was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder's tool cutter. Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day. Caslon typefaces were immediately popular and used for many important printed works, including the first printed version of the United States Declaration of Independence. Several revivals of the Caslon types are widely used today.
th
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Sketch Book
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Hand Lettering Paint
Rubber Stamp Lettering
Hand Lettering Sharpie Block Letters Hand Lettering Sharpie Logo Hand Lettering: Paint Magazine Cutout Characters Hand Lettering Imitation Chinese Characters
Hand Lettering Paint
Characters as Negative Space
Hand Lettering Pencil
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Character Study
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ResumÉ → Business Card
412 • 805 • 1345 VictoriaFolino@gmail.com VFolino@us.FIDM.edu Victoria Folino Graphic Design
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ďż˝
F
DESIGN
2013 2014 April 2014 - December 2014
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Snaps
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