Port Folio Zarya Tom Wing
• 4-5 Person • 6-7 Introdu • 8-15 Chara • 16-17 Sket • 18-21 Typo • 22-23 Logo • 24-33 MOC • 34-43 Pau • 44-47 Ubiq • 48-55 Pop
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ZAR TOM W
RYA WING
intro duction
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Hi there! My name is Zarya Tom Wing, feel free to call me Z. I like to describe myself as a graphic designer. Although Im originally from the east coast, I am now based in Los Angeles, California. I dabble in typography, logo design, and web design. I am constantly being inspired by people and the world around me and try to implement that into all my designs. Check out this portfolio for a taste of what I can do.
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o one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events. No one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events. No one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.
Baskerville
Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface.
Character Study vvvv
Bauhaus
Bauhaus was a school whose approach to design proved to be a major influence on the development of graphic design as well as much of 20th century modern art. Founded by Walter Gropius in Weimar, Germany in 1919. They made a significant contribution not only in the field of Architecture but also Typography. It belonged to the school of thought where students were encouraged to work on multiple art mediums like sculpture,fine art graphic design which allowed each discipline to inform the other. This often led me to think that, it could be the design discussions across these different disciplines that could have lead to the typography designers to borrow elements of Architecture principles to create type.Herbert Bayer is the pioneer to create Bauhaus as a type face. He had a strong background in Architecture which could have had the influence on shaping the typeface itself.
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he exclamation mark, also sometimes referred to as the exclamation point in American English, is a punctuation mark usually used after an interjection or exclamation to indicate strong feelings or high volume (shouting), or to show emphasis, and often marks the end of a sentence, for example: “Watch out!” Similarly, a bare exclamation mark (with nothing before or after) is often used in warning signs. Graphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point. The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation” or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment. The exclamation mark did not have its own dedicated key on standard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe. In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as “bang”,perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired, although the nickname probably emerged from letterpress printing. This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.
Helvetica The original Helvetica was designed in Switzerland in 1957 by Max Miedinger and Eduard Hoffmann at the Haas type foundry (Haas’sche Schriftgiesserei). Haas was controlled by the type foundry Stempel, which was in turn controlled by Linotype. Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning. The marketing director at Stempel decided to change the name to Helvetica in 1960 to make the font more marketable internationally. Originally it was proposed that the typeface be called Helvetia (Latin for Switzerland), but the designers didn’t want to name it after a country, and so it was called Helvetica instead (which is Latin for Swiss).
SKETCHES
TYPOGRAPHICAL TERMS ILLUSTRATED AMPERSAND
The familiar character & derives from a symbol that was used in place of the Latin word et, which also means “and.” In the late Middle Ages, single letters used as words-words like I-were, when spelled, incorporated into a phrase that clarified that they were in fact individual words. For I the phrase was I per se, I, which in Latin means I by itself (is the word) I. In early lists of the alphabet, Z was followed by the symbol &, which was rendered & per se, and, meaning “& by itself (is the word) and.”
CALIGRAPHY
BLACKLETTER
Black letter, also called Gothic script or Old English script, in calligraphy, a style of alphabet that was used for manuscript books and documents throughout Europe especially in German-speaking countries from the end of the 12th century to the 20th century. It is distinguished by a uniform treatment of vertical strokes that end on the baseline, the use of angular lines instead of smooth curves and circles, and the fusion of convex forms when they occur together
a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments.
CURSIVE
(also known as script or longhand, among other names) is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts.
DECORATIVE
Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type. Also referred to as display type, decorative fonts are typically used for titles and headlines and for small amounts of text in large sizes such as in greeting cards or posters.
DIDONE
The term “Didone” is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni , whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as modern or modern face , in contrast to “old-style” designs, which date to the Renaissance period.
DINGBAT
(sometimes more formally known as a printer’s ornament or printer’s character) is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames
DISTRESSED
DISPLAY TYPE
The term display typography is generally used to describe those forms of typographic work that involve the use of fewer words at larger scale, and to distinguish this work from editorial typography and the setting of continuous text. Examples include corporate identity, book jackets, packaging, fascias, and motion graphics
Distressed typefaces cover a lot of ground. Some replicate the irregular contours of brush strokes and other writing implements. Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps.
DROP CAP
A drop cap is the where the first character of the first paragraph is made larger, taking up several lines of text or the first few sentences. Drop caps are used in various media the used typed text including books, newspaper articles, documents, and webpages. Drop caps are used to add style or grab a reader’s attention.
EGYPTIAN FONT In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century. Slab serifs form a large and varied genre.
FRACTION
LIGATURE
Fractions are an integral part of typography. Sometimes they appear with great regularity, such as in recipes and cookbooks, manuals, and other documentation; sometimes they appear sporadically, as in the occasional dimension, measurement and quantity. But in either case, good typography calls for professional-looking fractions, which in most cases are diagonal fractions.
HAIRLINE RULE
In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image. On 600 ppi laser printers, the hairline rule is effective; however, on high-resolution (2400+ ppi) imagesetter s, it can be essentially invisible.
Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or ĂŚ diphthong ligature. Other ligatures are primarily to make type more attractive on the page such as the fl and fi ligatures. In most cases, a ligature is only available in extended characters sets or special expert sets of fonts. Ligatures used to improve the appearance of type are usually character pairs or triplets that have features that tend to overlap when used together.
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aised cap
RAISED CAP
It is the first, capital letter of a paragraph. This letter is larger in size than the other letters. The three initial caps types are raised, dropped and adjacent. Ornamental fonts for initial caps can give a higher appeal. Why? Such types combine art with a letter. Keep in mind, however, an ornamental cap with a complex design makes it difficult to read the text.
REVERSED
TRACKING
Reversing type – that is, placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to “look here” before moving on to the other elements.
SERIF
A serif is the little extra stroke found at the end of main vertical and horizontal strokes of some letterforms. Serifs fall into various groups and can be generally described as hairline, square, or wedge and are either bracketed or unbracketed. Hairline serifs are much thinner than the main strokes. Square or slab serifs are thicker than hairline serifs all the way up heavier weight than the main strokes. Wedge serifs are triangular in shape.
In typography, letter-spacing, also referred to as tracking by typographers working with pre-WYSIWYG digital systems, refers to an optically consistent degree of increase (or sometimes decrease) of space between letters to affect visual density in a line or block of text. Letter-spacing should not be confused with kerning. Letter-spacing refers to a uniform adjustment to the spacing of a word or block of text affecting its density and texture.
WOOD TYPE
Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled.
Z Zarya Tom Wing
Zarya Tom Wing
The Museum of contemporary Typography
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aul Rand was an eminent twentieth century American graphic designer and art director. He was the pioneer of iconic corporate logo designs for major firms, including IBM, ABC, Morningstar, Inc., NeXT Computer, Yale University and Enron. He was an avid practitioner of Swiss Style of graphic designing in American advertising industry. On August 15, 1914, in Brooklyn, New York, Rand was born as Peretz Rosenbaum. Since a very early age, he had a keen interest in painting and designing which reflected through his painting signs for his father’s grocery store and for his school events. As his father was of the view that art alone would be insufficient to provide a satisfying lifestyle for his son, so he enrolled him at Manhattan’s Harren High School. While studying there, Paul also attended night classes at the Pratt Institute from 1929 to 1932. He attended several art schools in succession such as The New School for Design, the Art Students League and Yale University in Connecti-
cut. Notwithstanding his rich academic career in arts, Rand developed his graphic sense through self-education largely, as he voraciously read the European magazines, discovering the works of Cassandre and László Moholy-Nagy. Subsequently, Rand began his career as a part-time stock image creator for a syndicate. Soon his class assignments and part-time job rendered him to assemble a distinguished portfolio. His work was highly influenced by
“Don’t try to be original, just try to be good” Sachplakat, the German advertising style and Gustav Jensen’s works. During this time he also decided to cloak his Jewish origin by shortening and modernizing his name Peretz Rosenbaum as Paul Rand. The decision worked in his best interest as he became the most enduring brand name for graphic designing. Shortly after, he became a success story and during his twenties his
graphic work earned international recognition. One of his notable designs was featured on the cover of Direction magazine, which he created free of charge in honor of artistic freedom. Despite the fact that Rand earned his ultimate success by designing corporate logos, however, the source of his reputation is based on his initial work on page design. In mid 1930s he was requested by Apparel Arts (now GQ) magazine to develop the page layout for their anniversary issue. Later he was offered a job at another prestigious magazine, Esquire-Coronet, as an art director. After first refusal, he accepted the offer, managing the fashion pages for Esquire. During 1950s and 1960s, Paul Rand became a brand name for logo designing in corporate industry. Many of the above mentioned firms owe their graphic designing heritage to him. In 1956, IBM became one of the companies that truly defined his corporate identity. He revised the IBM logo design in 1960 and yet again in 1972 with the famous stripes pattern.
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Design is so simple, thats why its so complicated
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fluence Paul Rand said, “Visual communications of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and the useful.” It’s not only about how it looks, or how it works, but about how it looks and works together. Rand’s
strategy was to focus on freeform layouts that are less structured and utilize collage, photography, artwork, and typography for an engaging result that users wanted to interact with. He took advantage of contrast and shapes to create unconventional ads and logos that were different from the rest.
His influence was work from modern artists like Paul Cezanne and he proposed the essence of Modernist theories in visual communication. His goal was to take something ordinary and create something extraordinary out of it. As Rand so eloquently put it, “the problem of the artist is to defamiliarize the ordinary.”
Ste e v Pau e Jo bs & l Ra nd In 1986, Steve Jobs paid renowned graphic designer Paul Rand $100,000 to create a visual identity for his computer company. Rand developed a unique 100-page proposal book for the NeXT logo that walked the reader step-bystep through the conceptual process to the final outcome. NeXT (later NeXT Computer and NeXT Software) was an American computer and software company founded in 1985 by Apple’s co-founder, based in Redwood City, Cali-
fornia. The company developed and manufactured a series of computer workstations intended for the higher education and business markets. As was a common part of the Paul Rand design process, a presentation book was produced in order to help persuade the client that the proposed idea was the right direction. “Ideally, a logo should explain or suggest the business it symbolizes, but this is rarely possible or even necessary. There is nothing about the IBM
symbol, for example, that suggests computers, except what the viewer reads into it. Stripes are now associated with computers because the initials of a great computer company happen to be striped. This is equally true of the ABC symbol which does not suggest TV. The mnemonic factors in both logos are graphic devices: stripes and circles. When Jobs was asked what it was like to work with Rand, he said, “I asked him if he would come up with a few options, and he said,
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 and old books, but from others it is largely hid- den. 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,6 and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these com-
mandments, 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
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
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. 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 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
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”
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. 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 recog-
nize, 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
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