“Ryan Okko is a current Graphic Design student who’s focusing on becoming a Art Director with a passion for photography.”
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Portfolio Ryan Okko Spring 2016
PORTFOLIO TABLE OF CONTENTS 6 8 12 14 16 18 20 22 32
LOGOS CHARACTER STUDIES POSTER DESIGN UBIQUITOUS TYPE SKETCHBOOK BUSINESS CARD NEWSLETTER THE POP! Editorial Sketches
Fonts Used
• Avenir Next • Adequate • Helvetica • Top Modern
• BEYNO • Phosphate • Helvetica Neue • Arial
• Mr Dafoe
Typography Terms 4
Portfolio Ryan Okko Spring 2016
Grotesque odd or unnatural in shape, appearance, or character floting often with the strokes of successive
Characters joined and the angles rounded
12pt. rule
Cursive
the point is the smallest unit of measure. It is used for measuring font size, leading, and other items on a printed page.
hairline rule
In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths typeface is a type of serif typeface characterized by thick, block-like serifs.
SLAB SERIF
early, ornate, bold style of type, Blackletter An typically resembling Gothic. affected with or suffering from distress Distressed
Reversed
a lighter typeface on a darker background, such as white text on a black background, is reversed type.
wood type helped express the message of that day
Calligraphy
Decorative handwriting or handwritten lettering.
Between Old Style and Modern are the Transitional typefaces
Oblique
Wood type
Transitional
denoting any case other than the nominative or vocative.
adjust the spacing between in a piece of text to be printed
D
Ligature
Kern i ng
a thing used for tying or binding something tightly.
s wa h S
A swash is a typographical flourish on a glyph, like an exaggerated serif
rop cap
is the first letter of a paragraph that’s of a much bigger size than the rest that follow. is a typographical symbol or glyph used to introduce items in a list. a hieroglyphic character or symbol; a pictograph.
• Bullet
ĠļŸþĦ
Ding✍ Tracking
is a term used to describe certain fonts that have shapes and symbols in place of what would normally be letters and numbers. a slight projection finishing off a stroke of a letter-spacing letter in certain typefaces.
Serif
Display
Type larger than body type, used in headings, advertisements, etc.
Handlettering handwritten text
Logo Design PROJECT LOGO PERSONAL LOGO 6
Portfolio Ryan Okko Spring 2016
The Museum of Modern Typography
TMOMT
ko n Oek sig anhic D RyGrap
Am persand Design Studio Los Angeles, CALIFORNIA
CHARACTER STUDIES
The Letter A
N
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. LetteraoxheadOx HeadLetteraphoenicianalefPhoenician A lef Let ter a greek alpha Greek A lpha Letteralater greek alpha Later Greek Alpha Letter a roman ah Roman Ah Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet. The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’. The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today. The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language. The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter. There are 25 more stories. font used: Top Modern
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Portfolio Ryan Okko Spring 2016
D
i
d
o
t
is the name of a family of French printers,punch-cutters and publishers. Through its achievements and advancements in printing, publishing and typography, the family has lent its name to typographic measurements developed by Franรงois-Ambroise Didot and the Didot typeface developed by Firmin Didot. The Didot company of France was ultimately incorporated
i n t o t h e modern CPI printg group.
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CHARACTER STUDIES
The Letter V
In Greek, the letter upsilon ‘V’ was adapted from waw to repesent, at first, the vowel U as in moon. This was late froned to, the front rounded vowel spelled ‘ü’ in German. The letter V comes from the Semitic letter Waw, as do the modern letters F, U, W, and Y. See F for details. In Latin, a stemless variant shape of the upsilon was borrowed in early times as V either directly from the Western Greek lphabet or from the Etruscan alphabet as an intermediary to represent the same U sound, as well as the consonantal W. Thus, ‘num’ — originally spelled NVM was pronounced /num/ and via was pronounced. From the 1st century AD on, depending on Vulgar Latin dialect, consonantal /w/ developed into B (kept in Spanish), then later V. During the Late Middle Ages, two forms of ‘v’ developed, which were both used for its ancestor /u/ and modern /v/. The pointed form ‘v’ was written at the beginning of a word, while a rounded form ‘u’ was used in the middle or end, regardless of sound. So whereas ‘valour’ and ‘excuse’ appeared as in modern printing, ‘have’ and ‘upon’ were printed as ‘haue’ and ‘vpon’. The first distinction between the letters ‘u’ and ‘v’ is recorded in a Gothic script from 1386, where ‘v’ preceded ‘u’. By the mid-16th century, the ‘v’ form was used to represent the consonant and ‘u’ the vowel sound, giving us the modern letter ‘u’. Capital ‘U’ was not accepted as a distinct letter until many years later. font used: Top Modern
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The Museum of Modern Typography
DIDOT Presents an exhibit of the creator of the fashion font
Modern typefaces, characterized by consistently horizontal stress, flat and unbracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography’s two hundred-year journey away from calligraphy. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: in Parma, Giambattista Bodoni (1740-1813) and in Paris, Firmin Didot (1764-1836). The font, Didot, is used as a masthead for both V Vogue and Harpers Bazaar.
June 21 - September 18, 2016 221 South Grand Avenue Los Angeles 90012
The Museum of Modern Typography www.museumofmoderntypography.com
TMOMT The Museum of Modern Typography
Ubiquitous Type
T
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 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 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.
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The presence of typography both good and bad, can be seen everywhere.
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. 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.” 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,
Portfolio Ryan Okko Spring 2016
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. 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.
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Portfolio Ryan Okko Spring 2016
Used to create these designs.
Busines
Front
G D
raphic
esigner
RYNOKKO@GMAIL.COM
(949).500.1297
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Portfolio Ryan Okko Spring 2016
ss card
Back
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Portfolio Ryan Okko Spring 2016
pops! Exploring type
The Pop project is an assignment that we did every week for homework. There would be different instructions each week. The typeface we used the most was Gill Sans. We experimented with the typeface as well as working with different size, weight, opactiy, and color. We also worked using reversed type and rule lines. I learned that from doing this assigment, sometimes you are limited and have to design with what you have. Having other students input and opinion helped out a lot because it is important to see what works and what doesnt.
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Portfolio Ryan Okko Spring 2016
pop!
visual Project
issue nine
volume ten in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’ hara frida kahlo
WEEK ONE
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WEEK THREE
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fr ne e ni ro ank issu a yl o ich ’ ha nd la ten rry ra y ste riv war i ho er n s l frid a ka hlo in this issue:
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in this issue:
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frida kahlo
johns
WEEK FIVE
frida kahlo Visual Project andy warhol roy lichtenstein jasper johns issue nine larry rivers in this issue: frank o’ hara
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larry rivers
andy warhol andy warholandy warhol larryandy riverswarholandy warhol Visual Project issue nine andy warhol larrylarry rivers larry rivers rivers Visual Project larryandy riverswarhol issue nine andy warhol issue nine Visual Project larry rivers larry rivers issue nine Visual Project Visual Project Visual Project issue nine issue nine larry rivers Visual Project larryProject rivers Visual issue nine Visual Project issue nine larry rivers issue nine larry rivers Visual Project Visual Project issue nine johns Visualjasper Project Visual Project jasper johns issue nine larryProject rivers Visual andy warhol Visual Project issue nine larry rivers andy warhol Visual Project jasper johns andy warhol andy warhol jasper johns andy warhol andy warhol jasper johns andy warhol jasper johns andy warhol Visual Project issue nine andy warhol andy warhol jasper johns issue nine andy warhol andy warhol jasper johns issue nine jasper johns Visual Project jasper johns jasper johns andy warhol andy warhol issue nine Visual Project Visual Project jasper johns issue nine andy warhol issue nine jasper johns Visual Project issue nine andy warhol Visual Project issue nine issue nine Visual Project jasper johns issue nine johns Visualjasper Project Visual Project jasper johns jasper johns issue nine Visual Project Visual Project issue nine Visual Project jasper johns jasper johns frank o’ hara jasper johns frank o’ hara jasper johns frank o’ hara jasper johns frank o’ hara frank o’ hara roy lichtenstein jasper johns jasper johns frank o’ hara roy lichtenstein frank o’ hara jasper johns jasper johns frank o’ hara jasper johns jasper johns roy lichtenstein jasper johns frank o’ hara frank o’ hara jasper johns roy lichtenstein jasper johns frank o’ hara roy lichtenstein jasper johns roy lichtenstein jasper johns jasper johns frank o’ hara roy lichtenstein jasper johns roy lichtenstein larry rivers
frank o’ hara frank o’ hara frank o’ hara fridafrank kahloo’ hara
POP! frank o’ hara
frank o’ hara frank o’ hara roy lichtenstein frank o’ hara roy lichtenstein roy lichtenstein kahlo roy frida lichtenstein
roy lichtenstein
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roy lichtenstein roy lichtenstein roy lichtenstein
roy lichtenstein frida kahlo roy lichtenstein roy lichtenstein frida kahlo frida kahlo roy lichtenstein frida kahlo frida kahlo in this issue: frida kahlo roy lichtenstein in this issue: frida kahlo frida kahlo frida kahlo roy lichtenstein in this issue: frida kahlo frida kahlo in this issue: frida kahlo frida kahlo in this issue: in this issue: frida kahlo in this issue: frida kahlo in this issue: in this issue: frida kahlo in this issue: frida kahlo in this issue: in this issue: frida kahlo in this issue: in this issue: frida kahlo in this issue: frida kahlo in this issue: in this issue: in this issue: in this issue:
WEEK SEVEN
frank frank o’ o’ hara hara p o p ! pop! jasper johns in this this issue: issue: in roy lichtenstein frida kahlo kahlo frida
larry rivers inee is isssuuee nnin andy warhol
ct je ro P l ua is V ct je Visual Pro
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ppoopp!! frank o’ hara Visual Project pop! ppoopp! ! in this issue: pop!
p o p ! p o p ! pop!
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WEEK NINE
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