Shiman ShanPortfolio Samples

Shiman Shan

The 500 An exploration of five elements: texture, balance, rhythm, anomaly and contrast expressed in a series of five hundred and fifty-five drawings. Results and process bound into a book.5.75 x 8.75’’ 2009

Shiman Shan

ABC3D Redesigning the cover of Marion Bataille’s pop-up book ACBC3D. Inspiration for the cover image is the color scheme of the book combined with the most basic pop-up technique known to man, and the three-dimensional qualities made possible by a letter press. 7.75 x 5.5” 2010

Shiman Shan

The Book asArt

Krystyna Wasserman

Artists’ Books from the National Museum of Women in the Arts

The B

ook as Art

PrincetonArchitectural Press

Krystyna W

asserman

The Book as Art 2.indd 1 4/13/10 12:51 PM

The Book as ArtRedesigning the cover of Krystyna Wasserman’s book The Book as Art 7.25 x 8.75” 2010

The Book asArt

Krystyna Wasserman

Artists’ Books from the National Museum of Women in the Arts

The B

ook as Art

PrincetonArchitectural Press

Krystyna W

asserman

The Book as Art 2.indd 1 4/13/10 12:51 PM

Shiman Shan

DESIG

NIN

G W

ITH LIG

HT Franz W

erner

Lars Müller

Designing with Light3.indd 1 4/13/10 12:47 PM

Designing with LightDesigning the cover of Franz Werner’s book yet unpublished Designing with Light. The cover image is reflective of the photograms that Werner likes to use in many of his graphic design work. 6.75 x 9.25” 2010

Shiman Shan

Elite Lefty A video based on my study of being left-handed in a right-handed world. A number of right-handers were asked to cut out circles with a pair of left-handed scissors. Their struggles were recorded and the circles were kept for further documentation. Compact size 5 x 5’’ 2009

Shiman Shan

M Figh

ters

L E T ’ S

A C T U A Lnew people. They’ll be more intrigued if they don’t

IM

&

Visual Hierarchy 10 x 10” 2009

Da bit mysterious when trying to attract

know everything about your life.

Richard duPont

WELCOMED AS THE FRIENDS OF GOD

OF

SPEAKS RIGHTEOUSNESS IN ME, AND WH CAN

STANDS IN MY DEFENSE

B I GB E AR

BIGBEAR

B I G B E AR

Shiman Shan

VelocityA flip book inspired by the word ‘velocity’. It follows the decline of a tooth due to cavity. 3 x 2’’ 2008

Shiman Shan

Designed by Jan T

schichold in 1964, Sabon is a typeface m

eant to echo the typefaces of C

laude Garam

ond while being fitted

for use on both Linotype and M

onotype m

achines. T

he specim

en of

Garam

ond that it is specifically based on is printed by K

onrad F. Berner w

ho’s wife w

as the w

idow of a m

an named Jacques Sabon.

That is w

here the typeface acquired it’s nam

e. Sabon was know

n for popularizing G

aramond’s typefaces in Frankfurt.

Sabon is often noted as a revival of G

aramond. It is a highly readable typeface

and is used in many areas of book design

and brand identity.A

n example of the use of Sabon is the

Washburn C

ollege Bible. It w

as typeset in 1973 by an A

merican graphic designer by

the name of B

radbury Thom

pson.

SAB

ON

Jan Tschichold

1964

;:”?

/!*&

%$

+\{}[]∆

√∫≠

∑€

ℓ≥

§¶

€μ

π∫£

¼½

¾¿

#¢

12

34

56

78

90

12

34

56

78

90

12

34

56

78

90

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

a b c d ef g h i j kl m n o pq r s t uv w x y z

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

a b c d ef g h i j kl m n o pq r s t uv w x y z

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

Jan T

schichold

Shiman Shan TYPE 02 FWerner

Sabon postcard.indd 14/20/10 11:37 AM

Designed by Jan Tschichold in 1964, Sabon is a typeface meant to echo the typefaces of Claude Garamond while being fitted for use on both Linotype and Monotype machines. The specimen of Garamond that it is specifically based on is printed by Konrad F. Berner who’s wife was the widow of a man named Jacques Sabon. That is where the typeface acquired it’s name. Sabon was known for popularizing Garamond’s typefaces in Frankfurt.

Sabon is often noted as a revival of Garamond. It is a highly readable typeface and is used in many areas of book design and brand identity.

An example of the use of Sabon is the Washburn College Bible. It was typeset in 1973 by an American graphic designer by the name of Bradbury Thompson.

SABON Jan Tschichold

1964

; : ” ? / ! * & % $ + \ { } [ ] ∆ √ ∫ ≠ ∑ € ℓ ≥ § ¶ € μ π ∫ £ ¼ ½ ¾ ¿ # ¢1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 01 2 3 4 5 6 7 8 9 0

AB

CD

E

FG

HIJ

K

LM

NO

P Q

RS

TU

V

WX

YZ

ab

cd

efg

hij

klm

no

pq

rstu

vw

xy

z

AB

CD

E

FG

HIJ

K

LM

NO

P

QR

ST

U

VW

XY

Z

ab

cd

efg

hij

klm

no

pq

rstu

vw

xy

z

AB

CD

E F

GH

IJK

LM

NO

P Q

RS

TU

V

WX

YZ

Jan Tschichold

Shim

an S

han

TY

PE 0

2 FW

erne

r

Sabon postcard.indd 1 4/20/10 11:37 AM

Sabon A postcard designed to show the typeface Sabon and its characteristics. 8.5 x 5.5” 2010

Shiman Shan

Friday’s MenA website exercise displaying two-frame gif files inspired by the movements of men vacuuming. 2009

Shiman Shan

Process Work Notebook 2009

Shiman Shan

Helvetica ManA sign for a reoccuring problem.Illustrator. Printed size 11 x 14” 2009

Shiman Shan

Univers 47

4645 47 49

53 54 5655 57 5958

39

63 64 6665 67 68

73 74 7675

8685

9493

48

Uni

vers

Typ

e Sp

ecim

en 8

.5 x

11”

200

9

Univers 47

As a student in Zurich, Adrian Frutiger began work on Univ-ers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univ-ers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical sys-tem for many other faces. All twenty-one Univers faces were designed to work together, so they can be mixed in a variety of ways. Their legibility lends itself to a large variety of appli-cations, from text and headlines to packaging and signage.

History

Univers 47

4645 47 49

53 54 5655 57 5958

39

63 64 6665 67 68

73 74 7675

8685

9493

48

Shiman Shan

Univers 47

6 point

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 Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0

6/6As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many

6/7

As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many

6/8

As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many

Univers 48

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 Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0

Univers 47

18 point

& $ ( . , “ ; : ) * ? ! ¼ ½ ¾

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 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 1 2 3 4 5 6 7 8 9 0

Univers 48

& $ ( . , “ ; : ) * ? ! ¼ ½ ¾

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 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 1 2 3 4 5 6 7 8 9 0

Univers 47

6 point

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 Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0

6/6As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many

6/7

As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many

6/8

As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many

Univers 48

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 Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0

Shiman Shan | 917.803.0499 | http://risd.digication.com/shimanshan