Vargasrios_final

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egro soir agra vaeg roj s irsa r s so e j o g i r o a v r s e i r a r o a v r so gr irs ra ae rs oj ag gr so a g ir ra sa av a o j o g g a e j g i so rsag avae groj soirs grav aegr oj so irsag ravae groj soirs agra vaeg roj so irsag rava egro soirs agra vaeg roj s irsa rava egro j soir sagra js oi gr irs ra a v ro s s e j ir ra o a v r s e g i r a a v g oir agra vaeg roj s oirsa grava egro j soir sagr vae roj s oirsa grav aegro j soi rsagr avae groj oirsa grav aegr oj so rsag avae groj soirs agrav so gr irs ra sa ae rs ag gr so av gr sa av ae o j js o g g v ro oi a e j g rsa grav aegro j soi rsagr avae groj oirsa grav aegr oj so irsag ravae groj soirs agra aeg oj so irsag rava groj soirs agra vaeg roj so irsag rava e roj so eg irs ra ae rs ag va ro so eg av gr irs ra ae oj ag va gr so g ir ra j g ag avae groj soirs agrav aegr oj so irsag rava groj soirs agra vaeg roj so irsag rava egro soir agra vaeg roj s irsa rava egro j soir sagra vaeg sa eg js oi gr ra a v ro s s e j ir ra o a v r s e g i r a v r gra vaeg roj s oirsa grava egro j soir sagr vae roj s oirsa grav aegro j soi rsagr avae groj oirsa grav aegr oj so rsag avae groj soirs agrav aegr s a g i r a r o a o g s a g s a rs o j o g a g v r s a e j o g v r rav aegr oj so irsag ravae groj soirs agra aeg oj so irsag rava egroj soirs agra vaeg roj so irsag rava egro j soir agra vaeg roj s oirsa grava egro j v r s e j o g i r o a v r s e j i r a r o a v r av egro j soi sagr avae groj s oirsa grav aegr j soi rsagr avae groj soirs grav aegr oj so irsag ravae groj soirs agra aeg oj so irsag rava egroj ae r o a v r s e a g i r a r o a s a g i r s a r o j o g a g gro soi agr vae roj s irsa rav egr j soi sagr vae roj oirs grav egr j so sag vae roj oirs gra aeg j so rsag ava groj ag ro so eg irs ra ae oj rs oj ag va so av gr irs ra a j so rsag ava gro oir g g irs rav egr j so sag ravae groj soirs agra aeg oj so irsag rava egroj soirs agra vaeg roj so irsag rava egro j soir agra vaeg roj ag v r s ra aeg oj s irsa rava groj soir agra aeg oj s irsa rav egro soir agr vae roj s irsa rav egr j soir agr vae roj

Jorge A

Vargasrios

V

Winter 2011

y p o P O R T g rT a pF h yO L I O

DESIGNER GRAPHIC

JOR G E A VA R G A SR IO S

B

orn and raised in Mexico for fifteen years, I moved to the United States at the age of fifteen. Moved to Sioux City, Iowa where I finished High School and was able to learn english.

I joined the United States Marine Corps right after finishing a year of ESL in college. After finishing with the military I moved to Los Angeles which is where i have been for the last nine years.

I have been doing a lot of freelancing in the graphic and web design community, but now is time to take my career to the next level by finishing the graphic design program at fidm.

SNAP

P+ o’ in this issue: issue three volum ten

e

NA keith haring herbert matter jean-michel basquiat ba te

S

literary

art journal

andy warhol

saul

ss

jean coc

georgia

keeffe

au

LOGO DESIGNS

MMXI

as estrumquas ea is sed quia voluptas ercius est, vendand elesto eos et et utem restis molut inveni ut quae labor re, corporum nusdandae res estectur resequi derum eveliti anditatemos dem.

Ehendebiscil molut eos il exernam, quam sequoditasim denetur si dolupti volor aut ut aut volor sequam, tet volorporit qui quaspis mincides ab is sime plabore pa delit quae digent eatus dolorro videlit dolo ide doluptatem. Ut quas dollecea volupic ipsaerionsed quas excea que eium nonsed ut que dolorem et aut ommoditium remoditat.

Ulloressi vit, ipsantur, quaepudae la andi conempo ribus.

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Tem is comnimos eaquate volorio.

Ebitios simeni aces quae. Sae nos nis sequi dolum remporum nimaximus porecearis idebit autemol uptiis est quidisquia net, cus doluptatiur santios quam, sunt.

Disit, entum ea quamusam am eum non repedi con nossimus, cum diti quatatectae atin nihicidus, sam nulles sapiet que nos a eossinit quis et occabor eptiuri rem solum volla est essecti uriorep ereptatus, sit is repe non eos quam exceperum aut re, nonsequ atescimus.

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ad ve rt isi n

Itaeperro occat erum ant offic tor militas mosae sin erundun testibus dolorum aut ipiendipist, corum eturia nobiti blaboribus dolore ipsantiscia cusapitatio con nonsequo maior millaut as que abo. Neque milluptaecus enimilit velende oditi aspelecto tempero maximag niminturi aut facienda volore volor acite non exerferum, utemolu ptatem est fugita nulpa parum aut a sendand erumend itatectatur am quam atia prorum renduntiatus des explitaes velestibus doluptassit aut impor rae et adiora voluptaqui dollupta nos unt accus quunto voluptatur? Rum facilluptat quam inus doluptae endigni hitiam et etur, quatemperunt qui dolupta volorruntium quatet laborum nos que vendae nihicipidem fuga. Itatquam eos vollupt iuntius andaeriorro voloreium est, in consequ iaescient, tem remperia dolestiatium renecep udandaesed quaerit odit explist esto quam, volupta tuscit eniscimin nimo cuptate nes dellaut ommolup tatibus.

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Vitempor sendebis de del eaquiandi rerspition rerunt et imiliae.

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RELAX Where The Year of the Rabitt Begins

SPA HOTEL RESTAURANT

Ahae idefex nesus etore maior habena, cons An se, vicissimium hilicaes moerips, se hostena ticastem mac ressent eatiquo it.

Ma, etimort estabem talariu me tabi conostem igiliam nosseres restique confece tam in sceres, condero inatis patica aceperes! Tum propopu blinata befaudam utus spimena erivil untesimus At posultum ut optis.

Ulii sed cum, Ti. C. conficienem autem maximolus enint. Gerei iam, silibusquis enatque coneris, sendiem teris fact

Ubiquitous

T TYPE The presence of typography

both good and

bad can be seen everywhere.

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 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 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 pre- cisely 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 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, 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.

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

VALENTINE DESIGN

BOOK

DESIGN

Jonatha

n Smith -Myer

The Boo k of th e Illumina tion

The Art of Magical Letters Jonathan

Smith-M

yer

Jonathan Smith-Myer

I The Art of Magical Letters

POSTER

DESIGN

M

Modernism:

A l o o k B a c k a t t h e F u t u re

Santa Monica Civic Auditorium

1914 to 1960

May 31 2015