hello.
Peter Deltondo G R A P H I C
D E S I G N E R
c: 949.584.6628 e: peterdeltondo@mac.com
www.peterdeltondo.com
Peter Deltondo Address: 29752 Melinda Road, Apartment 831 Rancho Santa Margarita, California 92688
+949.584.6628 Phone Number
peterDeltonDo@MaC.CoM Email Address
http://peterDeltonDo.CoM Portfolio
Education CertifiCate of GraphiC DesiGn 2011 to 2012
fashion insitute of DesiGn & MerChanDisinG Los Angeles, California
assoCiate DeGree 2006 to 2011
saDDlebaCk ColleGe Mission Viejo, California
honorable MeDiCal DisCharGe 2006
uniteD states Military aCaDeMy at west point West Point, New York
hiGh sChool DiploMa 2006
santa MarGarita hiGh sChool Rancho Santa Margarita, California
Work Experience oC GraphiCs & printinG October 2012 - Present
DesiGner + intern Assist in website development, vector illustrations, print materials, and graphic design.
stork DiGital January 2010 - Present
DesiGner + Creative DireCtor / prinCipal Oversee a team of graphic designers and web developers.
CrunCh fitness June 2009 - November 2010
operations supervisor Oversaw Member Services department and all daily club functions.
My Design, Software, and Other Proficiences DreaMweaver
photoGraphy
illustrator
worDpress
inDesiGn
web DevelopMent
liGhtrooM
soCial MeDia MarketinG
photoshop
sCratCh Golfer
Ubiquitous Type:
The
T
A REPORT ON PUBLIC TYPOGRAPHY
presence of typography both good and bad, can be seen everywhere.
By Peter Deltondo
ypography makes at least two kinds of sense, if it makes any sense That is precisely the use of a road: to reach individually chosen points at all. It makes visual sense and historical sense. The visual side of departure. By all means break the rules, and break them beautifully, of typography is always on display, and materials for the study deliberately, and well. That is one of the ends for which they exist. of its visual form are many and widespread. The history of letterforms Letterforms change constantly, yet differ very little, because they and their usage is visible too, to those with access to manuscripts, are alive. The principles of typographic clarity have also scarcely altered inscriptions and old books, but from others it is largely hidden. since the second half of the fifteenth century, when the first books were This book has therefore grown into something more than a short printed in roman type. Indeed, most of the principles of legibility and manual of typographic etiquette. It is the fruit of a lot of long walks design explored in this book were known and used by Egyptian scribes in the wilderness of letters: in part a pocket field guide to the living writing hieratic script with reed pens on papyrus in 1000 B.C. Samples wonders that are found there, and in part a meditation on the ecological of their work sit now in museums in Cairo, London and New York, still principles, survival techniques, and ethics that apply. The principles lively, subtle, and perfectly legible thirty centuries after they were made. of typography as I understand them are not a set of dead conventions Writing systems vary, but a good page is not hard to learn to but the tribal customs of the magic forest, where ancient voices speak recognize, whether it comes from Tang Dynasty China, The Egyptian from all directions and new ones move to unremembered forms. New Kingdom typographers set for themselves than with the mutable One question, nevertheless, has been or Renaissance Italy. The principles that often in my mind. When all right-thinking unite these distant schools of design are “Typography is the craft human beings are struggling to remember based on the structure and scale of the of endowing human that other men and women are free to human body - the eye, the hand, and the language with a durable be different,6and free to become more forearm in particular - and on the invisible visual form, and thus different still, how can one honestly write a but no less real, no less demanding, no less with an independent rulebook? What reason and authority exist sensuous anatomy of the human mind. I existence.” for these commandments, suggestions, don’t like to call these principles universals, and instructions? Surely typographers, like because they are largely unique to our others, ought to be at liberty to follow or to blaze the trails they choose. species. Dogs and ants, for example, read and write by more chemical Typography thrives as a shared concern - and there are no paths means. But the underlying principles of typography are, at any rate, at all where there are no shared desires and directions. A typographer stable enough to weather any number of human fashions and fads. determined to forge new routes must move, like other solitary travellers, It is true that typographer’s tools are presently changing with through uninhabited country and against the grain of the land, crossing considerable force and speed, but this is not a manual in the use of any common thoroughfares in the silence before dawn. The subject of this particular typesetting system or medium. I suppose that most readers of book is not typographic solitude, but the old, well travelled roads at the this book will set most of their type in digital form, using computers, core of the tradition: paths that each of us is free to follow or not, and to but I have no preconceptions about which brands of computers, or which enter and leave when we choose - if only we know the paths are there and versions of which proprietary software, they may use. The essential have a sense of where they lead. That freedom is denied us if the tradition is elements of style have more to do with the goals the living, speaking concealed or left for dead. Originality is everywhere, but much originality hand - and its roots reach into living soil, though its branches may be is blocked if the way back to earlier discoveries is cut or overgrown. If hung each year with new machines. So long as the root lives, typography you use this book as a guide, by all means leave the road when you wish. remains a source of true delight, true knowledge, true surprise. ✱
Goudy Frederick
Goudy Old Style
In 1903, Goudy and Will Ransom founded the Village Press in Park Ridge, Illinois. This venture was modeled on the Arts and Crafts movement ideals of William Morris. It was moved to Boston, then New York. In 1908, he created his first significant typeface for the Lanston Monotype Machine Company: E-38, sometimes known as Goudy Light. However, in that same year the Village Press burned to the ground, destroying all of his equipment and designs. In 1911, Goudy produced his first “hit,” Kennerly Old Style, for an H. G. Wells anthology published by Mitchell Kennerly. His most widely used type, Goudy Old Style, was released by the American Type Founders Company in 1915, becoming an instant classic. From 1920 to 1947, Goudy was art director for Lanston Monotype. Beginning in 1927, Goudy was a vice-president of the Continental Type Founders Association, which distributed many of his faces. By the end of his life, Goudy had designed 122 typefaces and published 59 literary works. Goudy was the originator of the well-known statement, “Any man who would letterspace blackletter would shag sheep.” (This is often misquoted as: “anyone who would letterspace lowercase would steal sheep” and “anyone who would letterspace blackletter would steal sheep.”) Others who doubt this story, as the
Briticism “shag” was unknown in American slang. It has also been said that the original verb was fuck, and that like “steal,” “shag” was a more recent toning down of the original. Goudy was not always a type designer. “At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did the seven greatest inventors of type and books, from Gutenberg to Garamond.” Asked how to say his name, he told The Literary Digest “When I was a boy my father spelled our name ‘Gowdy’ which didn’t offer any particular reason for verbal gymnastics. Later, learning that the old Scots spelling was ‘Goudy,’ he changed to that form, while I, for some years, retained the old way. My brother, in Chicago, still spells with the w. However, I find that occasionally a stranger pronounces the word with ou as long o in go, sometimes as ou in soup, or goo and less frequently with the ou as oo in good. I retain the original pronunciation with ou as in out.” (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936.)
Goudy Bookletter 1911
“Any man who would letterspace blackletter would shag sheep.” Copperplate Bold
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww X x Y y Z z