Nichawkins sp1

TYPOGRAPHIC

PORTFOLIO

AN EXPLORATION OF THE HISTORY, USAGE AND TERMINOLOGY OF TYPE AS USED IN GRAPHIC ARTS

THE FASHION INSTITUTE OF FASHION AND DESIGN WINTER 2015

NICHOLAUS HAWKINS, GRAPHIC DESIGN.

ABOUT ME

My name is Nicholaus Hawkins, I’m a 24 year old artist from Burbank California. I’ve had an obsession with art in general for as long as I could remember, most of my art is illustrative and very random.

I’ve established a general style for myself, as you will see later on in my sketch book section of this book. I’m currently learning the never ending lessons of graphic design, just like everything in life I belive we will never stop learning in general. I’ve always been confused with what I wanted to do for a living up until recently. I love art and I love anything that has to do with art, I want to be a free lance graphic designer and free lance artist. My journey has just begun, and I’ve already learned so much in the past year, I cannot wait to see where my skills will be in the near future! I hope you enjoy work!

NICHOLAUS HAWKINS, GRAPHIC DESIGN.

CONTENTS LOGOS,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,4-5 CHARECTER STUDIES,,,,,,,,,,,,6-9 CALENDAR,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,10-11 POSTER,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,12-13 UBIQUITOUS,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,14-15 SKETCHBOOK,,,,,,,,,,,,,,,,,,,,,,,,,,,16-19 POP,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,20-29 TYPOGRAPHICAL TERMS,,30-31 fonts used,,,,,,,,,,,,,,,,,,,,,,,,,,,,,32

LoGo Designs

LOGOS

AMPERSANDS CO.

L CHARECTER STUDIES| THE LETTER L

F37 Bella is designed in the classical French Didot style but with a contemporary geometrical twist, F37 Bella is based on letterforms of American typographers; John Pistilli and Herb Lubalin, and Swiss typographer Jan Tschichold.

CHARECTER STUDIES| THE LETTER A

A Trajan is an old style serif typeface designed in 1989 by Carol Twombly for Adobe.

The design is based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan’s Column from which the typeface takes its name.

W Charecter Studies The Letter W

W

Bakery Script is the Argentine duo’s nod to the high spirits of the 1970s. Angel Koziupa used his ever popular wild brush to draw the outline version, and Alejandro Paul refined it, expanded it, then extrapolated the solid version.

CALENDAR DESIGN

POSTER DESIGN

The art of type

221 S. Grand Ave| Los Angeles CA 90012

JANUARY3- MARCH25

Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann.Helvetica Neue is a reworking of the typeface with a more structurally unified set of heights and widths. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers.

www.MOMT.com

THE PRESENCE OF TYPOGRAPHY BOTH GOOD AND BAD, CAN BE SEEN EVERYWHERE

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 letterforms 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 rightthinking 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, welltravelled 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.

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

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

TYPE

SKETCH BOOK

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TYPOGRAPHICAL TERMS

FONTS USED BAKERY F37 BELLA FUTURA HELVETICA MINION PRO TRA JAN VONIQUE 64