ortfolio
logo
2
typography portfolio|13’
ortfolio
t y p o g r a p h y p o r t f o l i o | 1 3 ’
3
portfolio
able of Contents Logo design Ubiquitous type Brochure Snap
Times: regular, italic
Garamond | MS Gothic
Gill Sans
Character study Lyric poster Sketchbook Type poster 4
Milestone Script | Didot
HeadlinerNo.45 | Futura | MS Gothic Bernard MT Condensed | Garamond
Xinomara
Filosophia | SodaScript | Mrs.Eaves Tarzana | Oblong typography portfolio|13’
BY AIRI MINAMI “Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”
6
typography portfolio|13’
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 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 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,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 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 individually 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.
t y p o g r a p h y p o r t f o l i o | 1 3 ’
7
brochure
b
rochure design
8
typography portfolio|13’
t y p o g r a p h y p o r t f o l i o | 1 3 ’
9
SNAP!
S
nap T
he SNAP! assignment was a great exercise to let the creative side of our brains work and to constantly come up with new ideas. This project allowed us to experiment with type to understand the importance of typography in graphic design.
10
typography portfolio|13’
t y p o g r a p h y p o r t f o l i o | 1 3 ’
11
SNAP! 12
typography portfolio|13’
t y p o g r a p h y p o r t f o l i o | 1 3 ’
13
SNAP! 14
typography portfolio|13’
t y p o g r a p h y p o r t f o l i o | 1 3 ’
15
SNAP! 16
typography portfolio|13’
t y p o g r a p h y p o r t f o l i o | 1 3 ’
17
character study
c
haracter study
D
idot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811.
18
typography portfolio|13’
T
he letter x is one of the simpler ones. It is one of the less common letters of the alphabet in Latin or any other language. The essential elements of a diagonal cross are always present, although it may be adorned with a diagonal descender, or the two arms joined in a continuous loop. An interesting use of the letter x is in the nomina sacra abbreviation xpi, for Christ, in which the x was derived from the Greek letter chi. The term became Latinised and written in standard Roman letters. Arguably it is not an x at all, but it was written as one. It may also be used to signify the multiplication operation when a more appropriate glyph is unavailable. In mathematics, an “italicized x� is often used to avoid potential confusion with the multiplication symbol.
Mile Stone Script t y p o g r a p h y p o r t f o l i o | 1 3 ’
19
oneokrock
lyric poster
L
yric Poster Just give me a reason to keep my heart beating Don’t worry it’s safe right here in my arms As the world falls apart around us All we can do is hold on hold on Take my hand and bring me back I’ll risk everything if it’s for you a whisper into the night Telling me it’s not my time and don’t give up I’ve never stood up before This timeでも 譲れないもの 握ったこの手は離さない So Stand up stand up Just gotta keep it I wanna wake up wake up Just tell me how I can Never give up 狂おしいほど刹那の艶麗 Just tell me why baby They might call me crazy for saying I’ll fight until there is no more 愁いを含んだ閃光眼光は感覚的衝動 Blinded I can’t see the end so where do I begin Say not a word I can hear you The silence between us なにもないように映ってるだけ I’ll take this chance and I’ll make it mine ただ隠せないもの 飾ったように 見せかけてる
悲しみと切なさの艶麗 Just give me a reason to keep my heart beating Don’t worry it’s safe right here in my arms くだけて泣いて咲いて 散ったこの思いは so blinded I can’t see the end Look how far we’ve made it The pain I can’t escape it このままじゃまだ終わらせる事は 出来ないでしょ 何度くたばりそうでも 朽ち果てようとも 終わりはないさ so where do I begin 握りしめた 失わぬようにと･･･ 手を広げればこぼれ落ちそうで 失うものなどなかった日々の 惰性を捨てて 君を･･･ Just tell me why baby They might call me crazy for saying I’ll fight until there is no more 愁いを含んだ閃光眼光は感覚的衝動 Blinded I can’t see the end Look how far we’ve made it The pain I can’t escape it このままじゃまだ終わらせる事は出来 ないでしょ 何度くたばりそうでも 朽ち果てようとも 終わりはないさ It finally begins
So Stand up stand up Just gotta keep it I wanna wake up wake up Just tell me how I can Never give up
20
typography portfolio|13’
t y p o g r a p h y p o r t f o l i o | 1 3 ’
21
sketchbook
S
ketchbook
studied French for three years
addicted to shopping
Sassy
love disney!
favorite color = blue
favorite villain 22
typography portfolio|13’
coach poppy perfume
graphic design major at fidm my name in hiragana
I love cursive!
fidm = dream school since freshman year of playing piano since age 7 my name in kanji
100% Japanese
love scary movies!
t y p o g r a p h y p o r t f o l i o | 1 3 ’
23
poster design 24
typography portfolio|13’
toigre, s. m E r of Lan unde y Vander echoo f o c d Cz s the band Ru atislava, 968. i o k a Lic n Br r hus . in 1 uzan r with he in 1961 i the U.S mmuniy o o e geth was born igrated t raphic C t Berkele a o G m Lick ia and e gree in lifornia e k a slova d with a d rsity of C e e at niv garradu he U and cor4 She g s from t 8 n 19 n o in catio 4. ded i t began t d with n u o i 8 te was f in 19 This crea when azine acclaim designs mputer. to g a co re M led cal ace Emig uch criti ital typef acintosh agazine e now igr eM dig dm re m nere Licko’s tion of th in Emig hich Em w s a te pora st gener typeface re Fonts, r . r i g e f e i the ure of h e of Em orldwid r s w expo anufactu ftware, so the m butes as i distr
Z
t y p o g r a p h y p o r t f o l i o | 1 3 ’
25