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Typographical

Portfoilio

Summer

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Indr od u ction

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he use of typography in visual communication is changing daily, and often, and at the same time certain foundations of typographic creativity and visual remain fundamentalt. Graphic designer must become an all around designer, someone comfortable

moving within different cultures, recognising social cues, and facilitating action through graphic communication. , how it operates and how one can function within it is crucial. Communication theory, would provide this foundation. In short, the graphic designer must understand people and their cultural milieus.

Graphic designers must also understand the range of media that people currently employ. They must be comfortable designing for print as well as for the Internet, and courses in layout and visual organi We all have different cultural backgrounds and experiences that affect our perception of type one way or another. So, regardless of the designer’s skill and effort, a number of uncontrollable aspects remain, including the viewer’s perception, expectations, knowledge, experiences and preferences. sation must take both of mediums into account. While formal issues continuet to be critical, more emphasis should be placed on the effective presentation of varied content.

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Poster Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Logos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Ubiquitous Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Typography Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Pop Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 - 9 Identity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Character Studies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 - 16 Chinese New Year Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Sketchbook. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 - 20

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Poster Design

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L ogos

Typography

Ampersand Logo Project

r e s a p nd m A Art + Commerce

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ampersand art + commerce

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A report on public typography The presence of typography both good and bad, can be seen everywhere.

BY MYRNA LOY

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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 something 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,6and 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

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

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T y p og r ap hy Te r m s

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Po p P roj ec t

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in this issue: andy warhol jasper johns volume seven

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in this issue: andy warhol

roy lichtenstein jasper johns frank o’ hara

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visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns frank o’ hara larry rivers

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volume seven roy lichtenstein larry rivers jasper johns frank o’ hara andy warhol

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Id e n t i ty

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Steven Ochoa

Graphic Design

Graphic Design

stevenochoadesign.com contact@stevenochoadesign.com

Steven Ochoa

Graphic Design

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Ch a ra c t er Stu di es

a

CHARACTER STUDY A

A

was adopted greeks the alphabet, they had no use for the glottal stop the first phoneme of the Phoenician pronunciation of the letter, and the sound that the letter denoted in Phoenician and other Semitic languages—so they used an adaptation of the sign to represent the vowel, and gave it the similar name of alpha. In the earliest Greek inscriptions after the Greek Dark Ages, dating to the 8th century BC, the letter rests upon its side, but in the Greek alphabet of later times it generally resembles the modern capital letter, although many local varieties can be distinguished by the shortening of one leg, or by the angle at which the cross line is set.

Roman Ah

Greek Aplha

Ox Head

Letter Greek

The asics logo is an lower case a that is slanted to the right is closelt related to an oblique type to to it’s structure. It is a san serif a.

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Ch a r a c t er St u di e s

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CHARACTER STUDY G

G

was introduced in the Old Latin period as a variant of C to distinguish voiced from voiceless . The recorded originator of G is freedman Spurius Carvilius Ruga, the first Roman to open a fee-paying school, who taught around 230 BC. At this time, K had fallen out of favor, and , which had formerly represented both and before open vowels, had come to express in all environments.

Generally, the two forms are complementary, but occasionally the difference has been exploited to provide contrast. The 1949 Principles of the International Phonetic Association recommends using Opentail g.svg for advanced voiced velar plosives (denoted by Latin small letter script G) and Looptail g.svg for regular ones where the two are contrasted, but this suggestion was never accepted by phoneticians in general.

The letter G is the youngest letter we’ve investigated so far. It has no ancestor amongst the Egyptians, the Phoenicians, or the Etruscans!

G was first invented around the year 230 B.C. by a Roman freedman, Spurius Carvilius Ruga, who is also famous for opening the first private elementary school in all of recorded history.

G-Shock is a brand of watches well known for being designed with a a unique G which represents the design of the brand which is for miltary and sports lifestlyes.

The style of the G is not known font that i could find, I believe it was personallly designed for only G - Shock.

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Ch a r a c t er St u di es

CHARACTER STUDY The Letter O

O

o

The Oregon Ducks Logo is a O with two different colors,the strokes are both different.The color used for the University matches it’s colors, the stylized O the represents the ducks is nothing special it looks some what closely related to minion pro.

was used for the Phoenician letter for a vowel sound is due to the early Greek alphabets, which adopted the letter as to represent the vowel /o/. The letter was adopted with this value in the Old Italic alphabets, including the early Latin alphabet. In Greek, a variation of the form later came to distinguish this long sound (Omega, meaning “large O”) from the short o. Greek omicron gave rise to the corresponding Cyrillic letter O and the early Italic letter to runic.

The letter O is the fourth most common letter in the English alphabet. Like the other English vowel letters, it has associated and short pronunciations. The long o as in boat is actually most often a diphthong (realized dialectically anywhere from [o] to . In English there is also a “short O as in fox, which sounds slightly different in different dialects. In most dialects of British English, it is either an open-mid back rounded vowel or an open back rounded vowel in American English, it is most commonly an unrounded back to a central vowel to [a].

This Obama logo seems to be more of a designed O then just being a regular o, because the is not completely finished and has three red lines going vertical. It is reversed type because it is on a darker background and with white type inside it.

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Ch a ra c t er Stu di es

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CHARACTER STUDY Z

z Z

may have represented, the Greek form of Z was a close copy of the Phoenician zen. Early English used S alone for both the unvoiced and the voiced sibilant. The Latin sound imported through French was new and was not written with Z but with G or I. The successive changes can be well seen in the double forms from the same original, jealous and zealous. Both of these come from a late Latin zelosus, derived from the imported Greek. The earlier form is jealous; its initial sound is the which developed to Modern French.

John Wycliffe wrote the word as gelows or ielous. In the 1st century BC, Z was introduced again at the end of the Latin alphabet to accurately represent the sound of the Greek zeta. The letter Z appeared only in Greek words, and is the only letter besides Y that the Romans took directly from Greek, rather than from Etruscan.

Beginning with the advent of radio, the legendary Zenith name has been synonymous with quality and innovation for generations of American consumers. Pioneers in electronics technology for 95 years, Zenith inventors have made countless industry-leading developments, including the first wireless TV remote controls, the first portable and push-button radios, the first stereo audio systems for FM radio and television, and the first terrestrial broadcast system for HDTV using digital technology.

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Lowercase cursive z

Z in a sans serif typeface

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C h a r a c t er St u di es

CHARACTER STUDY V

V

comes from the Semitic letter Waw, as do the modern letters F, U, W, and Y. See F for details.In Greek, the letter upsilon was adapted from waw to represent, at first, the vowel [u] as in “moonâ€?. This was later fronted to, the front rounded vowel spelled 'Ăź' in German. In Latin, a stemless variant shape of the upsilon was borrowed in early times as v either directly from the Western Greek alphabet or from the Etruscan alphabet as an intermediary to represent the same sound, as well as the consonantal . Thus, originally spelled was pronounced and was pronounced. From the 1st century AD on, depending on Vulgar Latin dialect, consonantal developed intokept in Spanish), then later to .

In Roman numerals, the letter V is used to represent the number 5. It was used because it resembled the convention of counting by notches carved in wood, with every fifth notch double-cut to form a . During the Late Middle Ages, two forms of v developed, which were both used for its ancestor and modern . The pointed form v was written at the beginning of a word, while a rounded form was used in the middle or end, regardless of sound. So whereas and appeared as in modern printing, and were printed as and . The first distinction between the letters u and v is recorded in a Gothic script from 1386, where v preceded . By the mid-16th century, the form was used to represent the consonant and the vowel sound, giving us the modern letter . Capital was not accepted as a distinct letter until many. years later.

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This design is used by cadallic for there cadiallic V series, its the there main logo. This V is most likely personally made for this company, this V is a san serif, the left side of this V carrys more weight than the right.

This logo is used by a college football team named Vanderbilt Commodros.

The V consist of serif type. Its not customes made, besides the star.

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Chinese New Ye a r ’ s C ard

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2015 NewYear

Happy Chinese Steven Ochoa Graphic Design

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Sketchbook

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Sketchbook

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Sketchbook

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