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Typ

graphy portfolio


LOGOS

Font 72 pts ArDestine 16pts Bebas Neue

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A Benson Leung Portfolio Winter 2014


LOGOS leung Design Font 134 pt. Adobe 楷体 Std R

Font 134 pt. Adobe 繁黒體 Std B 18pt. Gobold

Font 120 pts. Adobe 宋体 Std L Font 72pts. 細明體 27pts/24pts/17pts Bebas

Font 32 pts. Brush Script

Font 12 pt. bebas

A Benson Leung Portfolio Winter 2014

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about

ME M y name is Benson Pak Shing Leung. I am the first in my family to be born here in the United States from Hong Kong. I am also the second to go to college as my brother was the first. My hobbies currently at the moment are gaming, swimming, photography, and designing stuff on PC or Mac. Since I am a gamer, I really enjoy looking at not just the newest games but also computer parts and messing around with them. I have competitively swam for more than 10 years and was recruited by a couple of colleges, which I turned down. Recently, I just started to get more into photography and I am about to finish my first year here at FIDM. My interest in graphic design mostly started during my sophomore year in high school. I was thinking about what I wanted to do with my life because back then I was a dedicated student athlete and I knew that I wouldn’t be able to keep up with the interest in swimming at a higher level. Then there was this book written by Sir Ken Robinson called The Element: How Finding Your Passion Changes Everything that was recommended by my older brother. I read it and it has completely made me think that art was the place for me to be in instead of swimming. So since I was into technology and wanted to do art, I made the decision to do graphic design, which brings me here today at FIDM.

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Portfolio Table of Contents ampersand logo

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Bebas Neue, Quadranta, Dunkn, Gills Sans

8-9

Bebas Neue, Quadranta, Dunkn, Gills Sans

Typographical Terms Ubiquitous Type

10-11

Bebas Neue, Quadranta, Dunkn, Gills Sans

12-13 14-15

Typographical Poster

Bebas Neue, Quadranta, Dunkn, Gills Sans

Sketchbook

Bebas Neue, Quadranta, Dunkn, Gills Sans

16-17

Bebas Neue, Quadranta, Dunkn, Gills Sans

18-19

Bebas Neue, Quadranta, Dunkn, Gills Sans

20-29

Bebas Neue, Quadranta, Dunkn, Gills Sans

Character Study

Curriculum Vitae snap

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&

Ampersand Logos

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Typographic Terms

FONT You’re look at it... just saying.

••• Dingbat (Glyphs)

A a Aa UPPERCASE (or UC)

Aa

Black Letter (or Gothic)

Folio

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lowercase (or lc)

Italic (or Oblique)

Aa ffi Egyptian (Slab Serif)

Ligature

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Aa

Transitional Font

Aa Calligraphy


Aa

Swash

• Bullet

Expanded

(C&su) Caps and Small Caps

Cursive

D FIDM Drop Cap

rop Cap sum fugitiam ut litas qui ommolupta commolupti in cumque corio. Ent, quodipsam non nate rem ex et im conectorem et landa cone nia sunt inullatur aut ommoluptis ad enditios resequid est, occum sae de volessinctem qui conet eaque dolorep tatur? Quis sunti id ut parum alitat et, omnia corem sus dolupta aliquia turibusci untum eic temolorio est, quid molorem idi consequi volupta sae prem eruptas modigendus quae ne consece rnatur apit rectotas volorempe. solupientis ma aces es in nis invento erspellautas mil ipsa exces eniatio repeliqui uta intorep eligendis dolenih icaecuptiam, commolum eturit, quassimaxim facessum dolores

Woodtype

Hairline Rule

0.25 pts.

Reversed A Benson Leung Portfolio Winter 2014

12 pt. rule

12 35 14 FLRR Folio

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Ubiquitous Type: A report on public typography

�

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

T

By Milton Glaser

ypography 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 for others it is largely hidden.

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

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 rightthinking human beings are struggling

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 if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�

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� 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 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 ree d 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.

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Typographical Poster

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The exhibition of a Typeface by

Alex TRochUT ABCDEFG HIJKLMN O P Q R ST UVWXYZ

A

lex Trochutwas born in Barcelona, Spain around June 3rd, 1981. He is a world known graphic designer for his original and iconic pop ar t style in Barcelona, Spain, who studied from ELISAVA, which is known as the Barcelona School of Design and Technology. He is famous for his clever use of the typefaces and turning them into illustrations with a unique form and function. Alex’s work is a combination of the use of typefaces that he applies to his illustrations and conver ts them into an interesting style that are sometimes referenced to the 20th century.

March 24, 2014 A Benson Leung Portfolio Winter 2014

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Sketch Book Razer: My dream laptop because it is so much better then a Mac, just saying.

PlanetSide 2: I really enjoyed playing video games because I get to enjoy something that is both graphicly and conceptually incredible to play.

Playboy: At this time, I was kind of curious if I could shoot photos for Playboy after I took a photography class at FIDM.

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Logos: These are logos that I’ve been looking at. Most of them ar just polygonal logos, which are more geometric, and some cool artist logos that I really thought were great.

My Family Name: This is a chinese character for my family name. There are two ways that can be said or written in English:vv “Liang” in Manderin or “Leung” in Cantonese. Since my family is from Hong Kong, we use the Cantonese one for our surname or last name.

madeon: Still one of my favorite artists not because of the songs but the art behind his music that he has.

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L character studies

the stor y of letter s

The

Monotype Corsiva

Designed by Patricia Saunders who worked for a company called at Monotype Corporations. This typeface is a scriptface and utilizing the style of early Italian cursives. A lot of the type in capital have this swash in it.

etter

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L

L

T

he letter L is the twelfth letter in the alphabet and can sometimes be mistaken as the number “1” in the alphabet or glyph. It was similar to an Egyptian hieroglyphic of an image of a lion. Specifically it came from a Phoenician crook or goad that, at that time, stood out as the letter “l”. The goad is a traditional farming equipment pushed by animals, such as oxen at that time, to produce food. As time came on, the letter had developed a hieratic structure that evolved from the Semites to become the character, or letter, today. Specifically, the Goad is a traditional farming equipment and a hieroglyphic during the times of the Egyptians to produce livestock. Egyptians tends to use

A Benson Leung Portfolio Winter 2014

oxen to pull this during their times to produce food near the Nile river. The hieroglyphic of the goad was developed overtime to the Phoenician where, it turns into a diagonal handwritten L. Again this Pheonician, and to be more specific this was in their alphabet called the Lamedth, which has a similar concept to the hieroglyphic of the Goad but just in a different way since it looks a little bit hand lettered. As time developed the Etruscan developed the horizontal version of the Lamedth “L”. Though in the Greek alphabet, it turns out into what seems to be an A or a “Lambda” influencing both the letters “A” and “L” in today’s current alphabet. The Greek alphabet has a lower case and upper case.

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Curriculum Vitae Buisness Card

Benson Pak Shing Leung 29600 Island View Drive Unit 207 Rancho Palos Verdes, CA 90275 Phone: (310) 951-6823 Email: bpsl888@gmail.com

Front

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back

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Adobe Creative Cloud Microsoft Office Lightroomt 5

leung Design

Software (PC and Mac):

Phone: Email:

Name: Adress:

Palos Verdes Peninsula High School (August 2009 – June 2013) Fashion Institute of Design and Merchandise (July 2013 – Current) Bachelors of Buisness and Science in Graphic Design (Branding) GPA: 3.68

Education:

To become more experienced and professional in dtifferent fields.

Objective:

(310) 951-6823 bpsl888@gmail.com

29600 Island View Drive Unit 207 Rancho Palos Verdes, California 90275

Benson Pak Shing Leung

Palos Verdes Peninsula High School (August 2020 – Current) Taught kids the principles and elements of design in addition to teaching them the major programs utilized by many graphic designers. Cathay Pacific (July 2018 – August 2020) Graphic Designer Worked on their advertising magazine and their newspaper PC Gamer (June 2015 – June 2018) Graphic Designer Laid out pages for the iPad and the magazine Palos Verdes Computer Repairs (May 2014 – June 2015) Learned computer parts to repair both Mac and PC. FIDM Mode (June 2014 – Deccember 2014) Graphic Designer and Photographer Lisi Aerospace (November 2013) Aligned up key frames in an advertising animation to present to an agent

Experience:

& DESIGN!

Typography

Photography

People: Teacher of the Year (2022)

Awards:


snap project

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A Benson Leung Portfolio Winter 2014


snap

the arts journal

Volume Seven

Issue One

in this issue: naom chomsky

paula scher

anyn rand

william burroughs

A Benson Leung Portfolio Winter 2014

fabian barone

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snap the arts journal volume seven issue one

in this issue: naom chomsky anyn rand william burroughs fabian barone

paula scher

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snap

in this issue: naom chomsky anyn rand william burroughs fabian barone paula scher

the arts journal volume seven issue one

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in this issue: noam chomsky william burroughs paula scher anyn rand fabian barone

snap

the arts journal volume seven

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issue one

A Benson Leung Portfolio Winter 2014


volume seven issue one the arts journal

snap in this issue: anyn rand paula scher noam chomsky william burroughs fabian barone

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in volume seven

snap

issue one

the arts journal

this issue: william burroughs

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fabian barone

anyn rand

paula scher

A Benson Leung Portfolio Winter 2014

noam chomsky


the arts journal issue one volume seven

in this issue:

snap snap snap snap snap snap noam chomsky

anyn rand

william burroughs fabian barone

paula scher

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snap snap volume seven

in this issue:

issue one the arts journal

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anyn rand paula scher noam chomsky william burroughs fabian barone

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p a n

the arts journal volume seven issue one

A Benson Leung Portfolio Winter 2014

in this issue: anyn rand paula scher noam chomsky william burroughs fabian barone

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Benson final single spread