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Creative. Inspired. Motivated. Like a sponge I like to learn and soak in everything new that surrounds me, I want

to create stuff with my two hands, I wanna allow people to witness the kind of world I live in. Breathing on this earth for two decades and living in a world where society expects individuals to grow up and leave their early ways at a young age, found in the endless well of thought deep within my head is a boy that cannot stand still watching television or sit around and do nothing. The scribbles on the wall is my art on a canvas and the favorite toy is my MacBook pro. Born in family of a loving mother and father with four sisters, responsibility came early. To protect and lead the house when the hardworking father was out, so respect was then learned through the five females that returned it when given. Showing my true colors through hardwork and dedication, the love for Graphic Design, Fine Art, and Photography have flourished to something great to innovate others.

Identity

[p] 562 229-8765

[e] Ramoseric92@yahoo.com

[a] 3419 Hadley Dr Mira Loma Ca

Design at its Finest

Male19Fine Art Painting. Exercising.Traveling. Music. Family. Reading. Football. Documentaries

Ad DesignCorporate Logo IdentitiesEditorialsPaintingPhotographySketchingTypography

2011-PresentFashion Institute Of Design & MerchandiseGraphic Design Diploma

2006-2010Eleanor Roosevelt High SchoolGED

Mac/Windows PlatformsAdobe IllustratorAdobe IndesignAdobe PhotoshopMicrosoft OfficeAcrylic/Latex/SprayPaint/WatercolorPencil

Free Lance Work:2011 Student Agenda Design for ERHS(Corona)13th Anniversary Event Poster for Ehecatl Dance Co. (Los Angeles)The Shop (Barbershop)” Logo and Mural Painting (Eastvale)Event Photography for Mexican House of Culture (Inglewood)Mixtape Cover/TShirt Design/Name Logo for B.Richey (Riverside)

Eric Ramos[p] 562 229-8765 [e] Ramoseric92@yahoo.com [a] 3419 Hadley Dr Mira Loma Ca

General Information

Design Proficiency

Education

Technical Proficiency

Field Experience

Man Is The Measure Of All Things- Protagoras

Logo Designs

Advertising

Ubiquitous Type:

A report on public typography

typography

54

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 hid- den.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 comesfrom 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✷

“Typography is the craft of endowing human language with a durable visual form, and thus

with an independent existence.”

Ubiquitous Type:

A report on public typography

typography

By Milton Glaser

The presence of typography both good and bad, can be seen everywhere.

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No. 20

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Edward Benguiat

Known for his designs or rede-signs of the logotypes for Es-quire, The New York Times,

McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Led-ger, The San Diego Tribune, Garamond

AT&T, A&E, Estee Lauder, U&lc...the list goes on and on. You name it, he’s done it.

Born Ephram Edward Benguiat in 1927, he grew up in Brooklyn, New York, Edward Benguiat got acquainted with design and showcard lettering when he was nine years old. His father was display director at Bloomingdale’s and he had all the drawing tools a little boy could want. Edward would play with his father’s pens, brushes, and drafting sets, and learned about sign painting, show-card and speedball lettering.

Before the Second World War, he had a promising career as a jazz per-cussionist, and he picked this up again after serving with the Air Corp - which he joined with the aid of a forged birth certificate - during the war. However, acknowledging that a music career could see him still playing at bar mitzvahs as an old man, he used the GI bill to go to college. He enrolled at the Workshop School of Advertising Art, training as an illustrator.

After his studies, he changed tack, working as a graphic designer and art director. And he is a prolific typeface designer, with over 600 typefaces to his credit, including ITC Tiffany, ITC Bookman, ITC Panache, and the epony-mous ITC Benguiat, as well as logotypes for The New York Times, Playboy, and Sports Illustrated. He is also credited with playing an important role in the establishment of ITC.

.His work has won him acclaim, in-

cluding a gold medal from the New York Type Directors Club and the prestigious Fredric W. Goudy Award. An avid pilot with his own personal plane, he currently teaches at the School of Visual Arts in New York. He also lectures and exhibits internationally. ♦

EMODERN NO. 20

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

DITC Bookman

Edward Benguiat

WEdwardian Script

Fontificate

Star Wars

western

romantic

art deco classicart noveau

distressed

scriptcondensed extended

Old English

modern

C r e a t e t h e s ta r w a r s l o g o i n e a C h o f t h e f o l l o w i n g t y p e s t y l e s

StarWars

StarWars

StarWars

StarWars

StarWars

StarWars

StarWars

StarWars

StarWars

StarWars

StarWars

a“TYPE IS THE MEASURE OF ALL DESIGN”

-ERbc