TYPO GRAPHY
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TABLE OF CONTENTS
AN INTRODUCTION AMPERSAND LOGOS TYPOGRAPHICAL TERMS ASSIGNMENT UBIQUITIOUS TYPE LAYOUT TYPOGRAPHICAL POSTER SKETCHBOOK CHARACTER STUDY CARRICULUM VITAE SNAPS
An Introduction
Journey
MY
It all started when I was young. Class assignments riddled with doodles, leading to scoldings by my various teachers until they realized that there was no use in trying to stop me. All through elementary and Jr. high, I was plagued by the urge to doodle all over my notes and assignments. Little did I know that this would soon change half way through Jr. high, when I learned of a little thing called graffiti. This soon became an immense interest in my life, some may say an obsession, leading me to break laws while simultaneously learning about various styles of art along with design and composition. I was never one to ‘catch fat spots’ with spray paint or anything, however I certainly did take the time to get my name out there. After having a few friends get caught, I soon realized the pending risk, which caused me to slow what I was doing down and come to an eventual halt all together. However, I still had an insatiable urge to create. I steadily went back to my simple, yet progressively improving doodles. Once I found out what graphic design is, and how it could be applied to just about everything imaginable, I immediately took it into consideration. Meanwhile, I was introduced to the wonderful
world of glassblowing/ lampworking. Glassblowing immediately blew me away because of its combination of form and functionality. One can create whatever they please, and with time and dedication, their pieces can be sold for an unbelievable amount of money. Though it may not seem like it, glassblowing and graphic design have quite a few similarities in the sense that both are forms of applicable design which has the main goal (for the most part) to please an audience. As I thought out what I wanted to do with my life, I finally came to the conclusion that by following both career opportunities that I would have the ability to build myself up and eventually be able to work on my own from home. I figured out that I would be able to learn graphic design, which would teach me more about composition and design, and with the help of the branding devision of the graphic design program here, I would be able to brand my self and get my name out there as an eventual glassblower when the time comes. When thinking about my future and all the things that lie ahead of me, I can’t help but get excited, and that is one great sign that I am definitely headed in the right path.
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Typographical Egyptian font
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(UPPER & lower case)
Expanded Font
Italic Oblique Calligraphy
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Ligature
❤ Cursive Dingbat
woodtype
The presence of typography both good and bad, can seen everywher
Ubiquitous Type: By Milton Glaser
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 letterforms 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 rightthinking 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 travelers, 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
A repo on publ typograp
and used by Egyptian sc script with reed pens on Samples of their work si in Cairo, London and N subtle, and perfectly legi after they were made. Writing systems vary, bu hard to learn to recogniz from Tang Dynasty Chi Kingdom typographers than with the mutable o
“Typography is the craft o endowing human languag with a durable visual form, and thus with an independent existence.”
forarm in particular and but no less real, no less d sensuous anatomy of the human mind. I don’t lik call these principles univ because they are largely to our species. Dogs and for example, read and w by more chemical mean the underlying principle typography are, at any ra stable enough to weathe number of human fashio fads. Typography is th
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cribes writing hieratic n papyrus in 1000 B.C. it now in museums New York, still lively, ible thirty centuries
ut a good page is not ze, whether it comes ina, The Egyptian New set for themselves 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 d on the invisible demanding, no less e ke to versals, unique d ants, write ns. But es of ate, er any ons and
of ge
he 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 vIt 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.
Typographical poster
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p The Exhibition of a Typeface By
b r e L u H
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Most people recognize the name Herb Lubalin in association with the typeface Avant Garde. And he was the typographer and designer behind its creation, after the success of Avant Garde Magazine and its typographic logo But, his career spanned a much wider scope than that. One of the people behind the cultureshocking magazines Avant-Garde, Eros and Fact, he was a constant boundary breaker on both a visual and social level. art of the founding team of the International Typeface Corporation (ITC) and the principal of Herb Lubalin, Inc it was hard to escape the reach of Herb during the 1960s and 70s. His constant search for something new and a passion for inventiveness made him one of the most successful art directors of the 20th century. Herb Lubalin lived from March 17, 1918 – May 24, 1981 and died at the age of 63.
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March 24th, 2014
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Sketch
hbook
Character study
The Letter...
X In Ancient Greek, ‘Χ’ and ‘Ψ’ were among several variants of the same letter, used originally for / kʰ/ and later, in western areas such as Arcadia, as a simplification of the digraph ‘ΧΣ’ for /ks/. In the end, more conservative eastern forms became the standard of Classical Greek, and thus ‘Χ’ (Chi) stands for / kʰ/ (later /x/). However, the Etruscans had taken over
‘Χ’ from western Greek, and it therefore stands for / ks/ in Etruscan and Latin.[citation needed] The letter ‘Χ’ ~ ‘Ψ’ for /kʰ/ was a Greek addition to the alphabet, placed after the Semitic letters along with phi ‘Φ’ for /pʰ/. (The variant ‘Ψ’ later replaced the digraph ‘ΦΣ’ for /ps/; omega was a later addition).
Business card Front
Graphic Design & Photography
661-510-4680
raymond.hinojos01@gmail.com
Back “Design creates culture. Culture shapes values. Values determine the future.� -Robert L. Peters
Carriculum vitae
Raymond Hinojos Graphic Designer & Photographer
education -High School Graduate
Skills
-Excellent communication skills
-Currently
-Computer
attending the
litterate(i.e. Photoshop,
Fashion Institute
InDesign, Illustrator,
of Design and
Word etc.)
Merchandising
-Great work ethic
Contact Phone: 661-510-4680 Email: raymond.hinojos01@gmail.com Address: 28049 Aumond Ave. Canyon Country CA, 91351
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snap the arts journal in this issue: naom chomsky ayn rand william burroughs paula scher fabian barone volume seven
issue one
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the arts journal issue one
volume seven in this issue:
naom chomsky ayn rand william burroughs paula scher fabian barone
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THE END