type portfolio

Typography Portfolio 2013 1

TPortfolioypography

Joseph Gutierrez

2 Typography Portfolio 2013

Table of

Contents1

Lucida Handwriting, Lucida Blackletter, Code Bold, Orator

2basicl

3bebas, basicl, futurist fixed width

4 & 5AMERICAN CAPTAIN, OPTIMA, TIMES

6 & 7 BASICL

8 -17GILL SANS

18 & 19AMERICAN CAPTAIN, FUTURIST FIXED WIDTH, FUTURA

20 & 21ORATOR


Name Logo


TypeTypography makes at least two kinds of sense, if it makes any sense

at all. It makes visual sense and historical sense. The visal 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, inscrip-tions 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 authori-ty 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

UbiquitousThe presence of typography both

good and bad, can be seen everywhere.


55Typography Portfolio 2013

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 princi-ples 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. 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 sup-pose 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.



SKETCHBOOK

One of the most

exciting basketball

games I have ever

been to.

CHAUNEY BILLUPS’

FIRST GAME AS AN

LA CLIPPER.

BEST SEATS



PAID DUES 2010

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snapThe snap 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, opacity, and color. We also worked using reversed type and rule lines. I learned that from doing this assignment, 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 doesn’t work.

snapsnapsnapsnap


journal of linguistics

volume sixissue three

in this issue:joseph campbellnoam chomskyroland young

yoko onosteve jobs

snap

One typeface, one size, one weight - 10 pt. Gill sans regular


One typeface, one size, two weights - 10 pt. Gill sans regular and bold

jou

rnal o

f lingu

istics


in this issue:

snap

joseph campbellnoam chomskyroland youngyoko onosteve jobs


Gill sans regular / Any two sizes per page

journal of linguistics


i n t h i s i s s u e :

j o s e p h c a m p b e l l n o a m c h o m s k y r o l a n d y o u n g y o k o o n o s t e v e j o b s

snap


Gill sans regular / Any two sizes per page

j o u r n a l o f l i n g u i s t i c s

volume six issu

e th

ree

i n t h i s i s s u e :j o s e p h c a m p b e l l

n o a m c h o m s k yr o l a n d y o u n g

y o k o o n os t e v e j o b s

s n a p


One typeface / Two Sizes / One Weight / Rule Lines

journal of linguisticsvolume sixissue three

in this issue: jose

ph c

ampb

ell

noam

cho

msk

yro

land

you

ng

yoko

ono

stev

e jo

bs

snap


One typeface / Two Sizes / One Weight / Reversed Type

snap

jo

ur

na

l

of

l

in

gu

is

ti

cs

in this issue:

joseph campbell

noam chomskyroland young

yoko onosteve jobs



in this issue:joseph campbellnoam chomskyroland young

yoko onosteve jobs

snapj o u r n a l o f l i n g u i s t i c s volum

e sixissue three

Experimental - One Typeface / Any Size / Any Weight


Experimental - One typeface / Any size / Any weight Repitition OK / No color

joseph campbell noam chomsky roland young yoko ono steve jobs

snapj o u r n a l o f l i n g u i s t i c s

volume six issue threein this issue:


Experimental - Any typeface / Any Size / Any Weight / Different Opacities / Different Colors

in this issue:

joseph campbellnoam chomsky

roland youngyoko onosteve jobs

snapj o u r n a l o f l i n g u i s t i c s



MONACOPOSTER


23-26 MAI 2013

GRAND PRIX‘71

C I R C U I T d e M O N A C OM O N T E C A R L O , M O N A C O


FONT BIO


The name Orator comes from the notion that

capitals and small capitals are clearer than upper and lower-

case letters, thus making it useful for speech notes.

C r e a t e d b y J o h n S c h e p p l e r

1 2 3 4 5 6 7 8 9

1962

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz

Orator is a monospaced typeface made up of CAPITALS and small capitals ONLY.

CAPITALS & small capitals

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz

Slanted1 2 3 4 5 6 7 8 9

({!?@#$%&*)}

Std

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oratortypography portfolio

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historical sense

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ecological principles