Portfolio Typo raphy
Logos
R Norberto Rosales Norberto Rosales s
Norberto Rosales
Norberto Rosales Norberto Rosales
Norberto Rosales
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Norberto Rosales
Norberto Rosales
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Portfolio
Table of Contents
Introduction
6
Ampersand Logo
8
Palatino, Helvetica
Zapfino, Birch, Minion pro, American Typewriter
Typography term assignment Baskerville, Impact, Oblique
ubiquituous type layout Bangla MN, Charcoal CY, Adobe Gothic, Trojan Pro
10 12
Typography Poster
14
Sketchbook
16
Character study
18
Zapfino, Palatino, Orator Std
Hand writing, Optima, Impact, Orator Std
Minion Pro, Orator Std
Curriculum Vitae
Plantagenet cherokee, Impact, Palatino, Optima
Snaps
Gill Sans 5 Rosales Portfolio winter 2014
20 22-31
Intro
My name is Norberto Rosales, before I die I promise myself that I would leave a mark on this earth. As my journey leaving High school, I wasn’t really sure what I wanted to do with my life. One day I was sitting in my AP Art class and my art teacher walked up to me and said to me that “you should show the world what you can do with your skills”. I took his advice and started looking for the perfect art school that would motivate me to actually do something with my skills. FIDM popped up
in a conversation with my friends during lunch, so I researched and found the Graphic Design major. As I was looking through the graphic design alumni’s work I instantly had goosebumps, all of the powerful works and the creativity shown just made me feel inspire. I decided to go in that field and make people feel the same way I felt, I also just wanted to stick with art for the rest of my life. But overall, I want to make people believe in the true beauty of the design world.
“Art is the expression of human creativity and imagination, producing works to be appreciated primarily for their beauty or emotional power”.
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ďż˝ Ampersand Logo
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Ampersand Design Front: Birch Std 24Pt.
Ampersand Design
Font: Minion Pro Bold 14Pt.
Ampersand Design Font: American Typewriter 20 . Pt
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TYPE TERMS
BASKERVILLE Transitional font
Woodtype
HI Reversed
Bullet
D
Caps and small caps
Hairline Rule
ĂŚ Blackletter
SlabSerif Egyptian font
Swash
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Ligature
7
Folio
Drop Cap
ยง
Extended Expanded Font
Glyph
U
pper case
Font
lants
Italic
ower
case
UC
Roman Oblique
lc
H
andwriting
Cursive
Elegant Caliligraphy
DINGBATS
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Ubiquitous
Type:
A report on public typography
The presence of typography both good and bad, can be seen everywhere. 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 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 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 one of the ends for which they exist. Letter forms 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
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”
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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.
I’ve always have been interested with my teachers hand writting
Woodtype font, the font flows with the cirle’s movement
I think the type is Garamond due to its old style face Font looks looks like old western font
Made up font, the letters move you across the poster
The font looks like Sathu, similar shapes in the letters
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TYPE POSTER
HERMANN
f p a
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A N � X H I B I T I O N O F T Y P E FA C E S B �
mure d N in 8 a n orn 1 pf, b , i n 1 9 a u g h t a Z y n , n n t t a a he erm , G e r m r m s t a d o m t r a d g f r E D e b n y d ng i igraph ch an a disi v i l ll d Ko now elf ca udolf has ha design s e R e m hi of ton. H n typ etches ks o str pf ’s ri ns o b Joh caree hich Za d r w wa ished phy ann rpiece m r u a e e ting typogr ars. H l mast ern at a d e c o d y i n n y m a fift d tech l and r e ov tic an tiona i s arti th trad e. m o i t b s e i m a s the
H
MARCH 24,2014
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SKETCH BOOK
You were givin this life because
Losing my mind
People screaming in the hospital
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you were strong enough to live it I met many different people in the hospital
I felt my life was going to have a stop when I heard the bad news
EMERGENCY 15 Rosales Portfolio winter 2014
CHARACTER STUDY
T
he letter R came from the Phoenician letter rosh. The word rosh meant head and the letter resembles a neck and head. It also looks like a backwards P. When the letter entered the Greek alphabet, the Greeks turned the letter around and added the short leg to the side. They called this letter rho.When we write the letter ‘r’ small, we write it like this, r like a curly piece of bent wire. If we look at that shape and reverse it, that’s the way that the Hebrews write their letter ‘r’ which is RESH. That letter resh with a slight change of vowel rosh (rô`sh) means
head or chief. The head of the year would be called the Rosh of the year and that Rosh is related to another word ruach, (rûwach) which means Spirit. Spirit again is a differentiating force. It is the formative differentiating force. When we say creation we are implying finiting and binding, and the binding is doing two things. Making one being within the limits of the boundary and excluding other beings of a different kind. All classification depends upon this. We bind together beings of a similar type and exclude beings of another type.
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M
inion is an Adobe Originals typeface designed by Robert Slimbach. It was inspired by classical, old style typefaces of the late Renaissance, a period of elegant, beautiful, and highly readable type designs. Minion Pro exhibits the aesthetic and functional qualities that make text type highly readable, yet is also suitable for display settings.
THE LETTER
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NORBERTO ROSALES Graphic Design NORBERTO ROSALES
Norberto Rosales
VITAE
14614 CHADRON AVE GARDENA, CA, 90249 NROSALES1@US.FIDM.EDU 310.408.9984
‘‘A LIFE LIVED FOR ART IS NEVER A LIFE WASTED” - MACKLEMORE
LAR
RICU R U C A R T EX
ental Environm cademy A s r e e r a C 2013 President G.R.E.E.N tor 2012) (Art Direc
ON EDUCATI igh school uzinger h
Le ns Ave, a r c e s o R 4118 0 , CA 9026 e l a d n w a L 200 (310) 263-2 a 2013) m o l p i d l o o (High sch tute of Design sti Fashion In dise han and Merc d Ave 919 S Gran CA les, Los Ange 200 ) (213) 624-1 ign Major s e D c i h p (Gra
E WORK EXPERIENC
Taco Bell 16414 crenshaw blvd Torrance, ca 90504 310.327.3614 ) (Service Champion siness South Bay 1-Stop Bu Center Hawthorne Teen Center Blvd. 3901 W. El Segundo 0 Hawthorne, CA 9025 (Art Director)
COMPUTER SKILLS InDesign PhotoShop Illustrator Word
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GRAPHIC DESIGN
GRAPHIC DESIGN
Norberto Rosales
Norberto Rosales
nrosales1@us.fidm.edu
nrosales1@us.fidm.edu
GRAPHIC DESIGN
Norberto Rosales
nrosales1@us.fidm.edu
GRAPHIC DESIGN
GRAPHIC DESIGN
Norberto Rosales
Norberto Rosales
nrosales1@us.fidm.edu
nrosales1@us.fidm.edu 21 Rosales Portfolio winter 2014
snaps
Snaps
Gill Sans
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william burroughs
the arts journal
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