typographyportfolio

katie brooks typography portfolio 2

Table of ContentsCover....................................................... . .page 1:

helvetica neue prestige elite

Table of Contents.................................page 2:roboto

Logo...........................................................page 3:roboto

Ubiquitous Type................................page 4-5:bodoni

adobe kaitiminion pro

Sketchbook.........................................page 6-7:roboto

Snaps.................................................page 8-17:roboto

Monaco Poster..............................page18-19:storm

helvetica neue

Font Designer Poster..................page 20-21: goudy old style

KATIE BROOKSgraphic design

Logo

katie brooks typography portfolio 4

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 andold 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,6and 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 havea 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 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.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, ofIt 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.

The presence of typography both good and bad, can be seen everywhere. {“Typography is the craft of endowing human language with a durable

visual form, and thus with an independent existence.” }

UbiquitousType

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 andold 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,6and 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 havea 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 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.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, ofIt 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.

The presence of typography both good and bad, can be seen everywhere. {“Typography is the craft of endowing human language with a durable

visual form, and thus with an independent existence.” }

UbiquitousType

katie brooks typography portfolio 6

Sketchbook

loved this saying...positivity

childhood memories

loved the lighting, lace and fresh

flowers

pure joy

bright colors make me happy

love to travel

love

design is every where

color swatches

katie brooks typography portfolio 8

snaps The snaps were used as an exercise to experiment with type and the different functions it can add to a design. Each week we would add on different elements such as rule, bold, repetition, and color. As we added on each new element, it completely altered the way type was seen and used among each design piece. Snaps gave me a new perspective on how type can completely change design and how it can add character to a design, or become the design itself.

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katie brooks typography portfolio 10

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katie brooks typography portfolio 12

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katie brooks typography portfolio 16

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katie brooks typography portfolio 18

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katie brooks typography portfolio 20

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Goudy Old Style is a classic serif type-face created by Frederic W. Goudy in 1915. Founded by the American Type Founders, Goudy Old Style’s design is very graceful and balanced with an up-ward curved ear on the letter G as one of it’s main characteristics. The font also re-placed the circular shape found in punctuation such as periods and exclamation marks with a di-amond shape, as well as for the dot over the letters J and I. Some of the letters also have a calligraphic quality such as the letter Q as the serif feet are quite round and curved. Goudy is suggested to have a Venetian influence due to its rounded, curvilinear glyphs. This type-face is considered to be among one of the most legible serif typefaces for use in print and is used in Harper Bazaar Magazine.

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