SIGNATURE + BIO
Hello, my name is Sam, I am a creative from Southern California. Whether it be art, origami, graphic design, or legos, I love to do anything that requires creativity. I have been drawing and illustrating for the majority of my life, and I don’t intend to stop but rather make a career out of it. In regards to art, I am self-taught and as for graphic design, I am attending FIDM to expand my creative abilities. I specialize in Pen & Ink but I’m also quite proficient with graphite, color pencil, markers, acrylic, gauche, Illustrator, Photoshop and InDesign. I simply hate mediocrity and would thus hate my self if I ever produced mediocre work, so my work ethic
Branding Business Card:
Samuel Arias Creative
Online Portfolio/Work:
17963 Burbank Blvd. Encino, CA 91316 Cell: (818)389-1480 Gmail: sam.arias.alpha
Behance.net/SamArias Society6.com/ToyBlue
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Samuel Arias
Creative
Online Portfolio/Work: Behance.net/SamArias Society6.com/ToyBlue
17963 Burbank Blvd. Encino, CA 91316 Cell: (818)389-1480 Gmail: sam.arias.alpha
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Back (Open)
RESUME:
SAM ARIAS OBJECTIVE: I want to be the very best. Like no one ever was. To design is my real test; to be published is my cause I will search across the internet; searchin’ far and wide. Each client to understand the power of design
Experience: Asides for small freelance work for my peers and family, I have no experience within the field of graphic design yet. As for my experience in art, I have participated in several competitions and have received awards and certificates of recognition.
Ability: Lv.l Lv.l Lv.l Lv.l Lv.l Lv.l
50 Artist 35 Graphic Designer 17 Photoshop 21 Illustrator 5 InDesign 0 Super Powers
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Travelling with
Typography 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, 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.
ITOUS
TYPE
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.” 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. 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.
A FONT BIO
Jonathan Hoefler President
the rock band They Might Be Giants. Perhaps his best known work is the Hoefler Text family of typefaces, designed for Apple Computer and now appearing Jonathan Hoefler is a typeface everywhere as part of the Macintosh operating system. designer and an armchair type historian who specializes in the Hoefler’s work has been exhibited internationally, and design of original typefaces. is included in the permanent collection of the CooperNamed one of the forty most Hewitt National Design Museum (Smithsonian influential designers in America Institution) in New York. In 2002, The Association by I.D. Magazine, Hoefler’s publishing work includes Typographique Internationale (ATypI) presented award-winning original typeface designs for Rolling Hoefler with its most prestigious award, the Prix Charles Stone, Harper’s Bazaar, The New York Times Magazine, Peignot for outstanding contributions to type design. Sports Illustrated, and Esquire; his institutional clients Hoefler and Frere-Jones’ collaboration has earned them range from the Solomon R. Guggenheim Museum to profiles in The New York Times, Time, and Esquire.
Tobias Frere-Jones Principal, Director of Typography After receiving his BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau, Inc. in Boston. During his seven years as Senior Designer, he created a number of the typefaces that are Font Bureau’s best known, including Interstate and Poynter Oldstyle & Gothic. He joined the faculty of the Yale School of Art in 1996, where he continues to teach typeface design on the graduate level. In 1999, he left Font Bureau to return to New York, where he began work with Jonathan Hoefler. Since working together, the two have collaborated on projects for The Wall Street Journal, Martha Stewart Living, Nike, Pentagram, GQ, Esquire, The New Times, Business 2.0,
and The New York Times Magazine. He has designed over five hundred typefaces for retail publication, custom clients, and experimental research. His clients have included The Boston Globe, The New York Times, The Cooper-Hewitt Museum, The Whitney Museum, The American Institute of Graphic Arts Journal, and Neville Brody. He has lectured at Rhode Island School of Design, Yale School of Art, Pratt Institute, Royal College of Art, and Universidad de las Americas. His work has been featured in How, ID, Page, and Print, and is included in the permanent collection of the Victoria & Albert Museum, London. In 2006, Frere-Jones became the first American to receive the Gerrit Noordzij Prize, presented by the Royal Academy of The Hague in honor of his unique contributions to type design, typography, and type education.
Book Design
The Book of the The Art of the Magical Letters By Jonathan Smith-Myers
Poster Design