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SARA MANGOLIof

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DESIGN & MERCHANDISINGFEATURING GRAPHIC DESIGN PROJECTS CONSISTING OF

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EDITORIAL POSTERSLOGOS BRAND BOOKCOVER

Sara Mangoli is a 20 year old who was born in Miami, Florida and was raised in Los Angles, California. As a child Sara loved to keep her-self busy doing activities that has to do with art. She couldn’t imagine herself not doing anything relevant in the art field as a career. As the years passed by, Sara decided she has a huge interest in Graphic Design. She made a huge step in her life to attend FIDM in Winter 2010 with a Graphic Design major, striving to become a great Graphic Designer designing logos, advertisements, magazines, and more.

Signature + Bio

G r a p h i c D e s i g n e r

Sara Mangoli President

2117 Design St. Suite #102Los Angeles, CA, 90025

Sara.Mangoli@gmail.com

(310) 570-7936

G r a p h i c D e s i g n e r

BRANDING

Graphic Designer in Branding

1859 Benecia Ave.Los Angeles, Ca 90025Sara.Mangoli@gmail.com(310)570-7936

Objective

Work Experience

Education

Personal Interests

Skills

An individual seeking a job as an individual who is seeking a job in the Graphic Design profession. Prefers to be hired to work in the branding in-dustry-designing logos, magazine layouts, advertise-ments, etc. Dedicated, hardworking, optimistic, and reliable.

✦ Photoshop

✦ Illustrator

✦ Indesign

✦ Drawing

✦ Microsoft works

✦ Worked at a friend’s printing shop

✦ Babysitting/Tutoring

✦ Volunteer Work

✦ Worked at a camp as a counselor

✦ Anything art related

✦ Photography

✦ Writing/Poetry

✦ Socializing/Helping others

✦ Ohr Haemet High School (9-12)

✦ Graduated/Received diploma in 2008

✦ AA degree in General Education from Santa

Monica College.

✦ Currently attending Fashion Institute of Design and Merchandising aiming to receive a Professional Designation Degree in Graphic Design.

GrandA Modern Eaterie

7 + FigAt Ernst & Young Plaza

BEIJING HOLIDAY RESORTR e staurant & Spa

VerveEnergy Drink

LOGO DESIGNS

BEIJING HOLIDAY RESORTRe staura nt & Spa

"Where Year of the Rabbit Began and the Future Begins"

Hotel Designed by Philippe Starck

ADVERTISING

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 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 unremem-bered 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 author-ity 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 de-termined 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 ex-plored in this book were known and used by Egyptian scribes writing hier-atic 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 King-dom 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 de-manding, 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 cal-ligraphy- 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 liv-ing, 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.

U B I Q U I T O U STYPE

The presence of typographyboth 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.”

EDITORIAL SPREAD

O

Roger Excoffon

Roger Excoff on set the style for advertising typography in France in the 1950s. His own ad agency, which he founded in Paris in 1947, was widely infl uential, and the typefaces he designed for the Fonderie Olive in the early ‘50s Mistral, Choc, Banco, Diane, Calypso provided French typographers with the tools for a new interpretation of the spirit of the decade.

Th is year, ITC is releasing a series of typefaces that build on Excof-fon’s original designs and extend them into new areas. Of the four new typefaces, three are lighter versions of the originals Mistral Light, Choc Light and Banco Light while the fourth, Banco Heavy, contains a low-ercase for the original Banco, which Excoff on designed as a caps-only font.

Th e project was a collaboration between ITC’s European type con-sultant Colin Brignall and British type designer Phill Grimshaw, who specializes in calligraphic designs. Th e project originated when Brignall, observing the current popularity of handwriting typefaces, felt there were unexplored possibilities in the script faces developed in Europe aft er World War II. He and Grimshaw at fi rst thought they would work with script faces from a variety of designers, beginning with Excoff on’s Mistral. When they realized that the next logical face was Choc, they shift ed the focus to France and narrowed it to types by Excoff on. i

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“Exco� on articulated a stylishly modern spirit, conveying a contemporary sensibility not only of economy and speed but also of casual elegance.”

A FONT BIOGRAPHY

Creator of Banco and Mistral

The Book of the

Illumination

The Art of the Magical Letters

Jonathan Smith-Myer

The Book of the

Illumination

The Art of theMagical Letters

Jonathan Smith-Myer

IThe Book of the

ILLUMINATION

The Art of theMagical Letters

Jonathan Smith-Myer

BOOK DESIGN

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