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Peter Deltondo
Education
Work Experience
My Design, Software, and Other Proficiences
CertifiCate of GraphiC DesiGn2011 to 2012
assoCiate DeGree2006 to 2011
honorable MeDiCal DisCharGe2006
hiGh sChool DiploMa2006
DreaMweaverillustratorinDesiGnliGhtrooMphotoshop
photoGraphyworDpressweb DevelopMentsoCial MeDia MarketinGsCratCh Golfer
oC GraphiCs & printinGOctober 2012 - Present
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CrunCh fitnessJune 2009 - November 2010
fashion insitute of DesiGn & MerChanDisinGLos Angeles, California
saDDlebaCk ColleGeMission Viejo, California
uniteD states Military aCaDeMy at west pointWest Point, New York
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Address: 29752 Melinda Road, Apartment 831Rancho Santa Margarita, California 92688
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 letterforms 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 something 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,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 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 precisely the use of a road: to reach individually 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.
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. ✱
Ubiquitous Type: A REPORT ON PUBLIC TYPOGRAPHY
The presence of Typography boTh good and bad, can be seen everywhere. by peTer delTondo
“Typography is the craft of endowing human
language with a durable visual form, and thus with an independent
existence.”
In 1903, Goudy and Will Ransom founded the Village Press in Park Ridge, Illinois. This venture was modeled on the Arts and Crafts movement ideals of William Morris. It was moved to Boston, then New York. In 1908, he created his first significant typeface for the Lanston Monotype Machine Company: E-38, sometimes known as Goudy Light. However, in that same year the Village Press burned to the ground, destroying all of his equipment and designs. In 1911, Goudy produced his first “hit,” Kennerly Old Style, for an H. G. Wells anthology published by Mitchell Kennerly. His most widely used type, Goudy Old Style, was released by the American Type Founders Company in 1915, becoming an instant classic.
From 1920 to 1947, Goudy was art director for Lanston Monotype. Beginning in 1927, Goudy was a vice-president of the Continental Type Founders Association, which distributed many of his faces. By the end of his life, Goudy had designed 122 typefaces and published 59 literary works.
Goudy was the originator of the well-known statement, “Any man who would letterspace blackletter would shag sheep.” (This is often misquoted as: “anyone who would letterspace lowercase would steal sheep” and “anyone who would letterspace blackletter would steal sheep.”) Others who doubt this story, as the
Briticism “shag” was unknown in American slang. It has also been said that the original verb was fuck, and that like “steal,” “shag” was a more recent toning down of the original.
Goudy was not always a type designer. “At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did the seven greatest inventors of type and books, from Gutenberg to Garamond.”
Asked how to say his name, he told The Literary Digest “When I was a boy my father spelled our name ‘Gowdy’ which didn’t offer any particular reason for verbal gymnastics. Later, learning that the old Scots spelling was ‘Goudy,’ he changed to that form, while I, for some years, retained the old way. My brother, in Chicago, still spells with the w. However, I find that occasionally a stranger pronounces the word with ou as long o in go, sometimes as ou in soup, or goo and less frequently with the ou as oo in good. I retain the original pronunciation with ou as in out.” (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936.)
GoudyFrederick
“Any man who would letterspace blackletter
would shag sheep.”
A a B b C c D d E e F f G g H h I i J j K k L l M m N n O o P p Q q R r S s T t U u Vv Ww X x Yy Z z
Copperplate Bold
Goudy Old Style
Goudy Bookletter 1911
In 1903, Goudy and Will Ransom founded the Village Press in Park Ridge, Illinois. This venture was modeled on the Arts and Crafts movement ideals of William Morris. It was moved to Boston, then New York. In 1908, he created his first significant typeface for the Lanston Monotype Machine Company: E-38, sometimes known as Goudy Light. However, in that same year the Village Press burned to the ground, destroying all of his equipment and designs. In 1911, Goudy produced his first “hit,” Kennerly Old Style, for an H. G. Wells anthology published by Mitchell Kennerly. His most widely used type, Goudy Old Style, was released by the American Type Founders Company in 1915, becoming an instant classic.
From 1920 to 1947, Goudy was art director for Lanston Monotype. Beginning in 1927, Goudy was a vice-president of the Continental Type Founders Association, which distributed many of his faces. By the end of his life, Goudy had designed 122 typefaces and published 59 literary works.
Goudy was the originator of the well-known statement, “Any man who would letterspace blackletter would shag sheep.” (This is often misquoted as: “anyone who would letterspace lowercase would steal sheep” and “anyone who would letterspace blackletter would steal sheep.”) Others who doubt this story, as the
Briticism “shag” was unknown in American slang. It has also been said that the original verb was fuck, and that like “steal,” “shag” was a more recent toning down of the original.
Goudy was not always a type designer. “At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did the seven greatest inventors of type and books, from Gutenberg to Garamond.”
Asked how to say his name, he told The Literary Digest “When I was a boy my father spelled our name ‘Gowdy’ which didn’t offer any particular reason for verbal gymnastics. Later, learning that the old Scots spelling was ‘Goudy,’ he changed to that form, while I, for some years, retained the old way. My brother, in Chicago, still spells with the w. However, I find that occasionally a stranger pronounces the word with ou as long o in go, sometimes as ou in soup, or goo and less frequently with the ou as oo in good. I retain the original pronunciation with ou as in out.” (Charles Earle Funk, What’s the Name, Please?, Funk & Wagnalls, 1936.)
GoudyFrederick
“Any man who would letterspace blackletter
would shag sheep.”
A a B b C c D d E e F f G g H h I i J j K k L l M m N n O o P p Q q R r S s T t U u Vv Ww X x Yy Z z
Copperplate Bold
Goudy Old Style
Goudy Bookletter 1911
