RAMOS_rev by Randy Dunbar

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reative. Inspired. Motivated. Like a sponge I like to learn and soak in everything new that surrounds me, I want to create stuff with my two hands, I wanna allow people to witness the kind of world I live in. Breathing on this earth for two decades and living in a world where society expects individuals to grow up and leave their early ways at a young age, found in the endless well of thought deep within my head is a boy that cannot stand still watching television or sit around and do nothing. The scribbles on the wall is my art on a canvas and the favorite toy is my MacBook pro. Born in family of a loving mother and father with four sisters, responsibility came early. To protect and lead the house when the hardworking father was out, so respect was then learned through the five females that returned it when given. Showing my true colors through hardwork and dedication, the love for Graphic Design, Fine Art, and Photography have flourished to something great to innovate others.

Design at its Finest

[p] 562 229-8765 [e] Ramoseric92@yahoo.com [a] 3419 Hadley Dr Mira Loma Ca

Identity

Eric Ramos [p] 562 229-8765

[e] Ramoseric92@yahoo.com

General Information

Design Proficiency

Education

[a] 3419 Hadley Dr Mira Loma Ca

Male 19 Fine Art Painting. Exercising. Traveling. Music. Family. Reading. Football. Documentaries Ad Design Corporate Logo Identities Editorials Painting Photography Sketching Typography 2011-Present Fashion Institute Of Design & Merchandise Graphic Design Diploma 2006-2010 Eleanor Roosevelt High School GED

Technical Proficiency

Field Experience

Mac/Windows Platforms Adobe Illustrator Adobe Indesign Adobe Photoshop Microsoft Office Acrylic/Latex/SprayPaint/Watercolor Pencil Free Lance Work: 2011 Student Agenda Design for ERHS(Corona) 13th Anniversary Event Poster for Ehecatl Dance Co. (Los Angeles) The Shop (Barbershop)â&#x20AC;? Logo and Mural Painting (Eastvale) Event Photography for Mexican House of Culture (Inglewood) Mixtape Cover/TShirt Design/Name Logo for B.Richey (Riverside)

Man Is The Measure Of All Things- Protagoras

Logo Designs

Advertising

February 03, 2012

Arts Magazine ✷

By Milton Glaser

overgrown. If you use this book as a guide, by all means leave the road ypography makes at least two kinds of sense, if it makes when you wish. That is pre- cisely the use of a road: to reach individuany sense at all. It makes visual sense and historical ally chosen points of departure. By all means break the rules, and break sense. The visual side of typography is always on display, them beautifully, deliberately, and well. That is one of the ends for and materials for the study of its visual form are many which they exist. and widespread. The history of letterforms and their Letterforms change constantly, yet differ very little, because they usage is visible too, to those with access to manuscripts, inscriptions and are alive. The principles of typographic clarity have also scarcely altered old books, but from others it is largely hid- den. since the second half of the fifteenth century, when the first books were This book has therefore grown into some-thing more than a short printed in roman type. Indeed, most of the principles of legibility and manual of typo-graphic 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 of lively, subtle, and perfectly legible thirty centuries after they were made. typography as I understand them are not a set of dead conventions but Writing systems vary, but a good page is not hard to learn to the tribal customs of the magic forest, where ancient voices speak from recognize, whether it comes from Tang Dynasty China, The Egyptian all directions and new ones move to unremembered forms. New Kingdom typographers set for themselves than with the mutable One question, nevertheless, has been often in my mind. When or Renaissance Italy. The principles that unite these distant schools of all right-thinking human beings are struggling to remember that other design are based on the structure and scale of the human body - the eye, men and women are free to be different,6 the hand, and the forearm in particular and free to become more “Typography is the craft of endowing human and on the invisible but no less real, no different still, how can one language with a durable visual form, and thus less demanding, no less sensuous anatomy honestly write a rulebook? with an independent existence.” of the human mind. I don’t like to call What reason and authority these principles universals, because they are largely unique to our exist for thesecommandments, suggestions, and instructions? Surely species. Dogs and ants, for example, read and write by more chemical typographers, like others, ought to be at liberty to follow or to blaze the means. But the underlying principles of typography are, at any rate, trails they choose. stable enough to weather any number of human fashions and fads. Typography thrives as a shared concern - and there are no paths Typography is the craft of endowing human language with at all where there are no shared desires and directions. A typographer a durable visual form, and thus with an independent existence. Its determined to forge new routes must move, like other solitary travellers, heartwood is calligraphy - the dance, on a tiny stage, of through uninhabited country and against the grain of the land, crossing It is true that typographer’s tools are presently changing with common thoroughfares in the silence before dawn. The subject of this considerable force and speed, but this is not a manual in the use of any book is not typographic solitude, but the old, well- travelled roads at the particular typesetting system or medium. I suppose that most readers of core of the tradition: paths that each of us is free to follow or not, and to this book will set most of their type in digital form, using computers, enter and leave when we choose - if only we know the paths are there but I have no preconceptions about which brands of computers, or and have which versions of which proprietary software, they may use. The a sense of where they lead.That freedom is denied us if the tradition essential elements of style have more to do with the goals the living, is concealed or left for dead. Originality is everywhere, but much speaking hand - and its roots reach into living soil, though its branches originality is blocked if the way back to earlier discoveries is cut or

Edward Benguiat No. 20

A B C D E F G H I J K L M N

nown for his designs or redesigns of the logotypes for Esquire, The New York Times, McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Ledger, The San Diego Tribune, Garamond AT&T, A&E, Estee Lauder, U&lc...the list goes on and on. You name it, he’s done it.

MODERN NO. 20

Edwardian Script

ITC Bookman

Born Ephram Edward Benguiat in 1927, he grew up in Brooklyn, New York, Edward Benguiat got acquainted with design and showcard lettering when he was nine years old. His father was display director at Bloomingdale’s and he had all the drawing tools a little boy could want. Edward would play with his father’s pens, brushes, and drafting sets, and learned about sign painting, showcard and speedball lettering. Before the Second World War, he had a promising career as a jazz percussionist, and he picked this up again after serving with the Air Corp - which he joined with the aid of a forged birth certificate during the war. However, acknowledging that a music career could see him still playing at bar mitzvahs as an old man, he used the GI bill to go to college. He enrolled at the Workshop School of Advertising Art, training as an illustrator. After his studies, he changed tack, working as a graphic designer and art director. And he is a prolific typeface designer, with over 600 typefaces to his credit, including ITC Tiffany, ITC Bookman, ITC Panache, and the eponymous ITC Benguiat, as well as logotypes for The New York Times, Playboy, and Sports Illustrated. He is also credited with playing an important role in the establishment of ITC. His work has won him acclaim, including a gold medal from the New York Type Directors Club and the prestigious Fredric W. Goudy Award. An avid pilot with his own personal plane, he currently teaches at the School of Visual Arts in New York. He also lectures and exhibits internationally. ♦

N O P Q R S T U V W X Y Z

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Star Wars

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“TYPE IS THE MEASURE OF ALL DESIGN” -ER