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Typography Typography Fall

2011

Shelby Kendall Schutze

The Fashion Institute of Design & Merchandising

in the

Shelby Schutze GRA P H I C DE S I GN

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y Name Is Shelby.

am a Graphic Design Major at the Fashion Institute of Design & Merchandising. This is my second quarter here at FIDM. I was born and raised

in Ojai Ca. I am 18 years old and have just graduated high school. I love every aspect of Graphic Design and cant wait to work in the industry. I really like that there are so many different areas in the profession to work within. At this point I see myself working in publication, packaging, or logo design. I think that these areas would be most interesting to me. I am open to change, and know that I could change the area that i would like to work within. I know that wherever I end up working or what area of the job I will be working in i will be happy because I love what I do. If you can find something you love, you will never have to work a day in your life.

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Shelby Schutze GRAPHIC DESIGN

ShelbySchutze@hotmail.com SSchutze@us.fidm.edu (805)701-5237

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(805)701-5237 shelbyschutze@hotmail.com sschutze@us.fidm.edu Objective: My goal is to gain employment inthe field of Graphic Design, Package Design, Logo Design, or any relevant position within the industry.

Skills: Adobe Photoshop Adobe Illustrator Adobe InDesign Adobe Bridge Photography Education: - Fashion Institute of Design and Merchandising.

2 0 11 - P r e s e n t - Ve n t u r a C o l l e g e 2 0 0 8 - 2 0 11 - El Camino High School 2 0 0 8 - 2 0 11

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*Festus | Adobe Caslon Pro | dekar

R est au rant + Spa Shelby Schutze

Graphic Design

&

Ampersand Design Studio

* Mature MT Script Capitals 18 pt

Advertising

AD Shelby Schutze G R A P HI C D ESI GN

Relaxation at its Finest.

Re s t aur a nt + S p a

Ubiquitous Type A

report

on

public

The presence of typography both good and bad, can be seen everywhere.

B y S h e l by S c h ut z e

typography

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 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 andold 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 Typography is the craft of the ecological principles, survival techniques, and endowing human language with ethics that apply. The principles of typography as “Typography is the craft of endowing a durable visual form, and thus understand them are not a set of dead conventions human language with a durable visual form, with an independent existence. Its but the tribal customs of the magic forest, where and thus with an independent existence.” heartwood is calligraphy the dance, ancient voices speak from all directions and new ones on a tiny stage. move to unremembered forms.

It is true that typographer’s One question, nevertheless, has bee often in my mind. When all righttools are presently changing with considerable force and speed, but this is thinking human beings are struggling to remember that other men and not a manual in the use of any particular typesetting system or medium. I women are free to be different, and free to become more different still, suppose that most readers of this book will set most of their type in digital how can one honestly write a rulebook? What reason and authority exist for form, using computers, but I have no preconceptions about which brands of these commandments, suggestions, and instructions? Surely typographers, computers, or which versions of which proprietary software, they may use. like others, ought to be at liberty to follow or to blaze the trails they choose.

The essential elements of style have more to do with the goals the living, Typography thrives as a shared concern - and there are no paths speaking hand and its roots reach into living soil, though its branches may at all where there are no shared desires and directions. A typographer be hung each year with new machines. So long as the root lives, typography determined to forge new routes must move, like other solitary travellers, remains a source of true delight, true knowledge, t rue surprise. 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 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

g Aries

Gill Sans

Gill Facia

Gill Foriated Capitols

Eric

Gill

Sculptor | Typographer | Writer

E

ric Gill was one of the most colourful figures in early 20th centur y art, despite the majority of his prints being in black and white. Sculptor, typographer, and writer.

In 1914 he met typographer Stanley Morison. By 1924 Gill was in Wales where he soon produced the Perpetua font for Morison and the Monotype Corporation, based on the classic Roman lettering of the Trajan column. Gill Sans followed in 1928. It was based on lettering by Edward Johnston who designed signage for the London Underground. Soon after he moved once again, this time to Pigotts outside London where he set up a printing press, Hague and Gill. Gill Sans is currently used for many British Railroad Signs . (Information from ericgill.com)

Humanist 521

Joanna

Jubilee

Lapidar y 333

Perpetua

F O N T

Fontificate

Star Wars

Star Wars western

modern

Star Wars

Star Wars

Star Wars

romantic

distressed

Old English

Star Wars art deco

Star Wars condensed

Star Wars art noveau

Star Wars script

Star Wars classic

Star Wars extended

S “ToLiveA Creative LifeWe MustLose OurFear OfBeing Wrong”

Shelby Schutze G R A P H IC D ESIG N