A TYPOGRAPHICportfolioOF WORK BYJENNA GILMARTINat the FASHION INSTITUTE ofDESIGN MERCHANDISING

FEATURING GRAPHIC DESIGN PROJECTSCONSISTING OF LOGOS + EDITORIAL + POSTERS + BRANDING + BOOKCOVERS

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e J e n n a G i l m a r t i n

Jenna Marie Gilmartin was born on Thursday, April 30, 1987, at 10:19 p.m., (a Taurus and Sagittarius Rising) the only child of Susi and Mark Gilmartin. Jenna’s mother, Susi, is a Capricorn from Cincin-nati , OH who works in Los Angeles as a real estate agent. Jenna’s father, Mark, is a Gemini from Boston, MA who works in Santa Monica as an environmental lawyer defending gas stations such as United Oil , Mobil , Arco, etc.

Jenna l ived in Malibu, CA until she was 12 years old, attending Webster Elementary, Meadow Oaks, and Malibu Junior High School. During that t ime, she received les-sons in everything that her moth-er hoped would interest her – art , horseback riding, ice skating, pia-no, tennis, ballet , tap dancing, and swimming. Jenna was most proned to art and horseback riding.

When Jenna was in the f i f th grade, she placed f irst in the PTA’s Reflections Contest for the Los An-geles-Santa Monica Unif ied School District for a pastel piece. The PTA is a national competit ion that honors students in various artist ic f ields. Her division was Visual Arts at the Intermediate Level. Her piece consisted of a baby doll ’s head in a wine glass.

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Upon graduation from Malibu Junior High School, Jenna attended a two-week writer’s course at Duke University (Durham, NC) which was her f irst taste of freedom from her parents. Thereafter, she attended Cincinnati Country Day (Cincinnati , OH) as a freshman in high school where she was awarded second place in Multi-Media Art at the awards ceremony at the end of the year.

Jenna then returned to Los Angeles and attended New Roads High School which is known for i ts progressive curriculum in creative arts. She completed her senior year at New Roads at the same time she attended Otis College of Art & De-sign as a freshman where she ma-jored in f ine arts - photography and painting.

After recieving her BFA from Otis College of Art & Design, Jenna realized she wanted to change her course of l i fe and purse something more focused in the commercial side of art - graphic design. She is cur-rently a Professional Designation student at the Fashion Institute of Design & Merchandising in dowtown Los Angeles working towards receiv-ing an Assoicates Degree in Graphic Design.

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Graphic designerJenna Gilmartin310.995.1237

jen_marie@ymail.com

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TYP 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 typogra-phy is always on display, and materials for the study of its visual form are many and widespread. The history of letter- forms and their us-age is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has there-fore grown into some-thing more than a short manual of typographic 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 eco-logical 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 unremem-bered forms. One question, nev-ertheless, 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 rea-son and authority exist for these commandments, sug-gestions, and instructions? Surely typographers, like others, ought to be at liber-ty 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 coun-try 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 every-where, 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 individually chosen points of departureBy all means break the rules, and break them beautifully, delib-erately, and well. That is one of the ends for which they ex-ist. Letterforms change con-stantly, yet differ very little, because they are alive. The principles of ty-pographic 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 princi-ples 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 per-fectly 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.

U B I Q U I T O U S

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

The principles that unite these distant schools of design are based on the struc-ture 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 univer-sals, 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 vi-sual 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 typeset-ting system or medium. I sup-pose that most readers of this book will set most of their type in digital form, using comput-ers, but I have no preconcep-tions 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.

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biography

Matthew Carter (born in London in 1937)[1] is a type designer. He lives in Cam-bridge, Massachusetts, United States. Carter’s career in type design has witnessed the transi-tion from physical metal type to digital type. He was named a 2010 MacArthur Fellow. At the age of 19, Carter spent a year studying in The Netherlands where he learned from Jan van Krimpen’s assistant P. H. Rae-disch. Raedisch taught Carter the art of punch cutting at the Joh. Enschedé type foundry. By 1961 Carter was able to use the skills he ac-quired to cut his own version of the semi-bold typeface Dante. Carter eventually returned to London where he became a freelancer as well as the ty-pographic advisor to Crosfield Electronics, dis-tributors of Photon phototypesetting machines. Carter designed many typefaces for Mergen-thaler Linotype as well. Under Linotype, Carter created well known typefaces such as the 100-year replacement typeface for Bell Telephone Company, Bell Centennial. In 1981, Carter and his colleague Mike Parker created Bitstream Inc.[1] This digital type foundry is currently one of the largest suppliers of type. He left Bitstream in 1991 to form the Carter & Cone type foundry with Che-

rie Cone. Matthew Carter focuses on improving many typefaces’ readability. He designs specifi-cally for Apple and Microsoft computers. Geor-gia and Verdana are two fonts created primarily for viewing on computer monitors. Carter has designed type for publications such as Time, The Washington Post, The New York Times, the Bos-ton Globe, Wired, and Newsweek. He is a mem-ber of Alliance Graphique Internationale (AGI), is a senior critic for Yale’s Graphic design pro-gram, has served as chairman of ATypI, and is an ex officio member of the board of directors of the Society of Typographic Aficionados (SOTA). Carter has won numerous awards for his significant contributions to typography and design, including an honoris causa Doctorate of Humane Letters from the Art Institute of Bos-ton, an AIGA medal in 1995, and the 2005 SOTA Typography Award. A retrospective of his work, “Typographically Speaking, The Art of Matthew Carter,” was exhibited at the University of Mary-land, Baltimore County in December 2002. In 2010, Carter was named a MacArthur Founda-tion Fellow, otherwise known as a “genius” grant. [2]In 2007, Carter designed a new variant of the typeface Georgia for use in the graphical user interface of the Bloomberg Terminal.

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