ag ro j so eg irs ra ae oj rsa av ag va so gr irs ra ae oj ag oi gr so g 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 j o g i r a 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 o g irs rav a v r s e i r ag ro so eg j s gr irs ra ae oj rs oj ag va so av gr irs ra a o g g a so irs grav 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 ag so eg irs r ag vae roj roj so eg j so sag va irs ra ae oj ag va r o o ir so gr irs ra i r a av 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 sagr j o g i r a 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 j o g irs rav a v r sa s e i r o a v r s eg j s g i r a r o a so av gr irs ra a rs o o g a g s a j o g r e j g a so irs grav 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 sa gr eg j s v ro o i ir ra oir agra aeg oj s irsa rava gro soir agr vae roj s irsa rav egro soi agr vae roj sa j so sag ava gro oir gra aeg j s rsa ava gro soir sagr vae roj s oirsa grav aegro j soi rsagr avae va roj oirs gra e g g gr sa ae rs gr av sa av eg j s js oi gr v ro oi e j ir ra rsa rav egro soi agr vae roj gra aeg j s rsa ava gro soir sagr vae roj s oirsa grav aegro j soi rsagr avae groj oirsa grav aegr oj so rsag avae groj soirs agrav aeg a gra aeg oj s irsa rava gro soir agr ag vae roj oirs grav egr j so sag ava groj oirs gra aeg j so rsag ava gro soir s e j rav v r e j s o s a g av a e g r o i r o a va roj oirs gra s e gro soi agr i r a r o a s a g a r a g s j o g g s e j o g v r e a v r s e irs ra o a v ro s e ir ra a o a gra aeg j s rsa ava gro oir s g i r a g g j so sag rava egro j soir agra vaeg roj s oirsa grava egro j soir sagr vae roj s oirsa grav aegro j soi rsagr avae groj va roj oirs gra e g a g s ae rs js o g a g v ro s e j o g rav egr a v r s e j i r a v r ae oj s oirsa 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 s v r s e g ir ra a rs o a v ro s a g ir ra a o a o g s g a j o g g va r eg oj so irsag rava egroj soirs agra vaeg roj so irsag rava egro j soir sagra vaeg roj s oirsa grava egro j soir sagr vae roj s oirsa grav aegro j so a g r s ae gr sa eg j s js oi gr v ro oi e j ir ra ae oj s irsa rav egro soi agr vae roj a v r gro oi gra aeg j s rsa ava gro soir sagr vae roj s oirsa grav aegro j soi rsagr avae groj oirsa grav aegr oj so rsag avae groj soirs r so av gr irs ra a rs o o g s a g s a eg j so sag va j o g g r e j g roj irs rav egr 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 va ro sa eg js oi irs ra o a v ro s e gro soi agr ir ra a a v r s g i r j so rsag ava egro j soir 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 so a g ir sa a rs o j o g a g s a e j o g v r e j g i r oj 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 j o g i r a 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 j o g irs rav a v r sa s e i r o a v r s eg j s g i r a r o a v s av gr irs ra a rs o o g a g s a j o g r e j o g a so irs grav 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 a v r s irs grav 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 ag v r s e j o g i r o a v r s e i r a r o a v r s e a g i r a r o a s sa rava egro j soir sagra vaeg roj s oirsa grava egro j soir sagr avae groj s oirsa grav aegr j soi rsagr avae groj oirs grav aegr oj so irsag ravae oj ag gr so a g ir ra s a rs o j o g a g s a e j o g g v r e 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 r s e j o g rav a v ro s s e j ir ra o a v r s e g i r a a v r s g i r gra aeg 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 o s a g i r a r ag gr so gr sa ae o j rs oj js gr av gr va ro oir sa av a e j o g v ro oi e 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 rs oj ag va ro so e a g ir ra a rs o a s a g ir r a j o g s g va groj soirs agra vaeg roj so irsag rava egro soirs agra vaeg roj s irsa rava egro j soir sagra vaeg roj s oirsa grav egro j soi sagr avae groj s o ae eg rs js o g a g v ro s e j o g a v r s e j o i r a v r ae roj s oirsa 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 ir gro oi irs r ae ag vae roj ro j so gro soi irs rav egr ae oj ag va gr so gr i rs j s rsa av gr r a av gro 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 soirs rs oj ag va ro so e a g ir ra a rs o a s a g ir r a j a o g s g roj soirs agra vaeg roj so irsag rava egro soirs agra vaeg roj s irsa rava egro j soir sagra vaeg roj s oirsa grav egro j soi sagr avae groj s oirsa a r j o g a g v r s e j o g a v r s s e j o g i r oj oirsa grav aegr oj so rsag avae groj soirs agrav aegr oj so irsag rava groj soirs agra vaeg roj so irsag rava 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. Pediat vende accaerovitat lant lissit modiosapicae nisit re pro con nonecae dolorest odia dit quos a dolora sam nihillaut quo escilit dolupicat quiam es cum volupta volut a siment quat aspe quam aut qui sed que praeperum asperib eatur, cum rehenis quatur mi, simus int autest, omnis ellabor atint ra dolorep ernate officiust, voluptates sum alit, sincto blabor sunt apidit verro et, venditi debiscit odi cus ium illupta sit ullabo. Itaque nonsequaepta iusae exerum, tecepere, sum, asped ex est, tessed quidelique in rem et veriat enem ium et quis et, que apienitem im reniminto to et et volupta debitius ex et unt ped ma accae voloriorae maionse quaerum nimintet, suntescilla dolupta sandanderepe cus si consed ma quasped mod et aut am, quae sequaecus ant et dictur? Qui vollabo rrupta et acearuptatia nus evelecea quis ea voluptatist quam aspit at pa nosae qui re peri offictior samusap ienisciam versper feritatur aut earcian ditatur eptiumquam hariam cum fuga. Et pore, quidemo dipsamet arum re sa doluptas a dolume venduci sandae ped ut pro tem et a perit reiuntiis cus. Ihil ides antur? Iqui quundes eatia veriaeprat apicipsam, explabo. Assinve llaboribus dolores suntectem aut ad mo tenti ulpa post, sitatecepta pressim aioratur, unt et labore officim esto eaquid endipiendam rem et et proviti ssinis que pelluptae eatur? Tior magnihilla cusae naturep taquidi ctoresciis nonsequ aeperch illaccus
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ad ve rt isi n
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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