TY PO

GRA

HYPPORTFOLIO

PORT

FOLIO

PORTFOLIO

PORT

FOLIO

2

Typography Portfolio

Arial Black Gill Sans RegularGill Sans Bold

4

tab

le o

f c

on

ten

t

Logo

Walkway Expand Ultra Bold

Walkway Ultra Bold

Optima3

Gill Sans RegularAdobe Caslon Pro Bold8

Gill Sans RegularAcens RegularGill Sans Ultra Bold

19

Corbel Bold6

Ubiquitous type

Sketchbook

Snap

Poster Design

Typography Poster

Helvetica Regular21

C H A N G

Graphic Design

INDYCHANG

Graphic Design

CINDY

LOGOLOGOLOGO

LOGO

LOGO LOGO

4

Typography Portfolio

biquitousUTypeThe presence of

typography both good and bad, can be seen

everywhere.

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 and old books, but from others it is largely hidden.

This book has therefore 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 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

biquitous

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 l eave 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 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.

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, 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.”

6

Typography Portfolio

S KEC KT H BOOPROJECT

PROJECT

PROJ

ECT

Painting Experiment :Grey Arcylic + Tea Leaves

Painting Experiment :White Arcylic + Cocoa

Painting Experiment :Red Arcylic + Eraser Waste

Painting Experiment :Yellow Arcylic + Black Pepper

Hand Contours

3rd Division v.s. 1/2 Division

Torso Twice as Tall as its Wide7.5 Heads Tall

Glue Gun + Clip

Figure Drawing Notes

8

Typography Portfolio

snap type literary journalSNAPPROJECT

PROJ

ECT

PROJECT PROJECT

In this snap project, we play with the spacing, scales, and positions of the letters on a page in order to create distinctive typographic compositions.

Gradually, we have been allowed to increase our use of creativities and decrease the limitations on the project as the quarter went by. We are now free to use our imagination and play with the compositions of this project. Projects with more limitation create limited visual impacts. However, a limited visual impact doesn’t always get carried out in a negative manner. With a creative mind, a simply composed project can be quite easy on the eyes as opposed to more over-exaggerated ones. I’ve found snap projects that allow more freedoms to expand our creativities much more interesting for me. With more freedoms, we are presented with more opportunities to uncover the potentials of typography and give people that visual impact we look for in a project. With fewer limitations, which allows our creativities to run free, the finished product could really reach that potential we look for. Through this snap project, we are now more familiar with the characteristics and connotations of typography as well as effectively utilizing types as elements for units of composition.

snap type literary journal

in this issue

issue six volume I

saul bass

noam chomsky

roland young

yoko ono

salmon rushdie

10

Typography Portfolio

snap type

in this issue

saul bass

noam chomsky

roland young

yoko ono

salmon rushdie

issue six volume I

literary journal

in this issue

literary journal

snap

type

litera

ry

journ

al

in

this

issue

issue

six

volum

e I

saul

bass

noam chomsky

roland

young

yoko

ono

salmon rushdie

12

Typography Portfolio

snap

typ

e li

tera

ry jo

urna

lissue six volum

e Iin this issues

aul bass

noam chomsky

roland young

salmon rushdieyoko ono

snap type issue six volume I

in this issue

snap

typ

e li

tera

ry jo

urna

l

salmon rushdie snap type issue six volume I

in this issue

saul

bas

s

no

am c

hom

sky

rola

nd y

oung

yo

ko o

no

sa

lmon

rus

hdie

liter

ary

jour

nal

14

Typography Portfolio

ns app1

rolan

dyo

ung

yoko

onosalmonsa

ulno

amba

ss

chom

sky

rushdie

literary journal

this

issue

iniss

uesix

volum

e

ssnaptype

literary

j

ournalissuesix thi sin

saul bass

noam chom

sky

roland young

yoko ono

salmon rushdie

issue

npp

16

Typography Portfolio

sau

l bass

snaptype

liter

ary

journalis

sue

sixvolumn I

in

t h si

issue

saul

bas

s

roland young

yoko ononoam

cho

msk

ysalmon rushdie

roland youngroland young

roland youngroland young

roland young

noam

cho

msk

yno

am c

hom

sky

noam

cho

msk

y

volumn Ivolumn Ivolumn Ivolumn Ivolumn Ivolumn I

yoko ono

salmon rushdie

salmon rushdie

salmon rushdie

snap

type

litera

ry

journ

al

in

this

issue

issue

six

volum

e I s

aul bass

noam chomskyroland young

yoko onosalmon rushdie

18

Typography Portfolio

P OSTER

DESIGN

DESIGNDESIGN

2013

20

Typography Portfolio

TY PO

GRA

HYPPOSTER

POST

ER

POSTER

POST

ER

Helveti

ca is t

he La

tin na

me of S

witzerla

nd,

so, it

was

a g

ood

marketi

ng p

loy. T

his

font b

ecam

e pop

ular v

ery qu

ickly.

A few

years

later

, the

font

Helveti

ca b

ecam

e

one o

f the m

ost c

ommon

repre

senta

tives

of the

intern

ation

al typ

ograp

hic sty

le. The

intern

ation

al typ

ograp

hic sty

le is

also

know

n as th

e Swiss

style.

Clarity,

accu

racy

and o

bjectiv

ity were

the m

ain fe

atures

of

the Swiss

style

.

HMax

elvitecaMiedinger

In the

proc

ess o

f Helv

etica

, he h

as

also

collab

orated

with Edo

uard

Hoffman

. Max

Mieding

er was

born

in 19

10, Z

urich

. He

had

a

childh

ood

dream

to b

ecom

e an

artist,

but h

is fath

er was

again

st it.

So, he

stud

ied on

type

sette

r in a

printi

ng ho

use in

Zurich

. How

ever,

he fi n

ished

the e

venin

g art s

choo

l

and a

fter 1

0 yea

rs of

working

in

the pr

inting

hous

e he b

ecam

e a

desig

ner.

When

the w

ar be

gan,

Mieding

er lef

t Zuri

ch an

d wen

t to

Munch

enste

in, a

nd g

ot a

job in

the Haa

s’sch

e Sch

riftgie

sserei

.

Edoua

rd Hoff

man was

the d

irecto

r

of thi

s co

mpany.

Hoff

man

had

a drea

m to cr

eate

a pop

ular fo

nt

that c

an be

more

succe

ssful

then

German

Akzide

nz Grot

esk. F

or this

purpo

se Hoff

man cr

eates

his o

wn

font ca

lled Haa

s Grot

esk. A

nd lat

er,

Hoffman

aske

d Mun

chen

stein

to

redes

ign th

e Haa

s Grot

esk.

Thus,

Helveti

ca

was

create

d. Both

desig

ners

worked

toge

ther f

or a

long t

ime,

and b

oth di

ed in

1980

.

A large

numbe

r of H

elveti

ca va

riants

with

diffe

rent fo

nt fac

es

were de

velop

ed. F

or a lo

ng tim

e it was

the mos

t popu

lar dis

play

font a

s well

as th

e mos

t wide

ly use

d san

s seri

f font.

Due to

the

deman

d and

popu

larity

of the

Helveti

ca, th

e com

pany

Linoty

pe

relea

sed a

n impro

ved v

ersion

. In 19

83, H

elveti

ca N

eue w

as

relea

sed.

It had

over

fi fty d

ifferen

t vari

ants.

Max Miedinger is the

designer of the Helvetica font.

Helvetica was one of the fi rst integrated fonts in the computer

operating systems. Helvetica was the prototype for Arial font.

In 1982, Microsoft made an order to Monotype fi rm to create

grotesque which will be close to the Helvetica font. Since then

and up to the present day, Helvetica font was and remains the

most copied font. It is widely used in the printing and advertising.

Type

faces

of Helv

etica

were ex

pand

ing ra

pidly.