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Portfolio Typo raphy


Logos

R Norberto Rosales Norberto Rosales s

Norberto Rosales

Norberto Rosales Norberto Rosales

Norberto Rosales

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Norberto Rosales

Norberto Rosales

3 Rosales Portfolio winter 2014


Portfolio

Table of Contents

Introduction

6

Ampersand Logo

8

Palatino, Helvetica

Zapfino, Birch, Minion pro, American Typewriter

Typography term assignment Baskerville, Impact, Oblique

ubiquituous type layout Bangla MN, Charcoal CY, Adobe Gothic, Trojan Pro

10 12

Typography Poster

14

Sketchbook

16

Character study

18

Zapfino, Palatino, Orator Std

Hand writing, Optima, Impact, Orator Std

Minion Pro, Orator Std

Curriculum Vitae

Plantagenet cherokee, Impact, Palatino, Optima

Snaps

Gill Sans 5 Rosales Portfolio winter 2014

20 22-31


Intro

My name is Norberto Rosales, before I die I promise myself that I would leave a mark on this earth. As my journey leaving High school, I wasn’t really sure what I wanted to do with my life. One day I was sitting in my AP Art class and my art teacher walked up to me and said to me that “you should show the world what you can do with your skills”. I took his advice and started looking for the perfect art school that would motivate me to actually do something with my skills. FIDM popped up

in a conversation with my friends during lunch, so I researched and found the Graphic Design major. As I was looking through the graphic design alumni’s work I instantly had goosebumps, all of the powerful works and the creativity shown just made me feel inspire. I decided to go in that field and make people feel the same way I felt, I also just wanted to stick with art for the rest of my life. But overall, I want to make people believe in the true beauty of the design world.

“Art is the expression of human creativity and imagination, producing works to be appreciated primarily for their beauty or emotional power”.

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7 Rosales Portfolio winter 2014


ďż˝ Ampersand Logo

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Ampersand Design Front: Birch Std 24Pt.

Ampersand Design

Font: Minion Pro Bold 14Pt.

Ampersand Design Font: American Typewriter 20 . Pt

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TYPE TERMS

BASKERVILLE Transitional font

Woodtype

HI Reversed

Bullet

D

Caps and small caps

Hairline Rule

ĂŚ Blackletter

SlabSerif Egyptian font

Swash

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Ligature

7

Folio

Drop Cap


ยง

Extended Expanded Font

Glyph

U

pper case

Font

lants

Italic

ower

case

UC

Roman Oblique

lc

H

andwriting

Cursive

Elegant Caliligraphy

DINGBATS

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Ubiquitous

Type:

A report on public typography

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

T

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 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, 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 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. Letter forms 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

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

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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. 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, of 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.


I’ve always have been interested with my teachers hand writting

Woodtype font, the font flows with the cirle’s movement

I think the type is Garamond due to its old style face Font looks looks like old western font

Made up font, the letters move you across the poster

The font looks like Sathu, similar shapes in the letters

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TYPE POSTER

HERMANN

f p a

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A N � X H I B I T I O N O F T Y P E FA C E S B �

mure d N in 8 a n orn 1 pf, b , i n 1 9 a u g h t a Z y n , n n t t a a he erm , G e r m r m s t a d o m t r a d g f r E D e b n y d ng i igraph ch an a disi v i l ll d Ko now elf ca udolf has ha design s e R e m hi of ton. H n typ etches ks o str pf ’s ri ns o b Joh caree hich Za d r w wa ished phy ann rpiece m r u a e e ting typogr ars. H l mast ern at a d e c o d y i n n y m a fift d tech l and r e ov tic an tiona i s arti th trad e. m o i t b s e i m a s the

H

MARCH 24,2014

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SKETCH BOOK

You were givin this life because

Losing my mind

People screaming in the hospital

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you were strong enough to live it I met many different people in the hospital

I felt my life was going to have a stop when I heard the bad news

EMERGENCY 15 Rosales Portfolio winter 2014


CHARACTER STUDY

T

he letter R came from the Phoenician letter rosh. The word rosh meant head and the letter resembles a neck and head. It also looks like a backwards P. When the letter entered the Greek alphabet, the Greeks turned the letter around and added the short leg to the side. They called this letter rho.When we write the letter ‘r’ small, we write it like this, r like a curly piece of bent wire. If we look at that shape and reverse it, that’s the way that the Hebrews write their letter ‘r’ which is RESH. That letter resh with a slight change of vowel rosh (rô`sh) means

head or chief. The head of the year would be called the Rosh of the year and that Rosh is related to another word ruach, (rûwach) which means Spirit. Spirit again is a differentiating force. It is the formative differentiating force. When we say creation we are implying finiting and binding, and the binding is doing two things. Making one being within the limits of the boundary and excluding other beings of a different kind. All classification depends upon this. We bind together beings of a similar type and exclude beings of another type.

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M

inion is an Adobe Originals typeface designed by Robert Slimbach. It was inspired by classical, old style typefaces of the late Renaissance, a period of elegant, beautiful, and highly readable type designs. Minion Pro exhibits the aesthetic and functional qualities that make text type highly readable, yet is also suitable for display settings.

THE LETTER

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NORBERTO ROSALES Graphic Design NORBERTO ROSALES

Norberto Rosales

VITAE

14614 CHADRON AVE GARDENA, CA, 90249 NROSALES1@US.FIDM.EDU 310.408.9984

‘‘A LIFE LIVED FOR ART IS NEVER A LIFE WASTED” - MACKLEMORE

LAR

RICU R U C A R T EX

ental Environm cademy A s r e e r a C 2013 President G.R.E.E.N tor 2012) (Art Direc

ON EDUCATI igh school uzinger h

Le ns Ave, a r c e s o R 4118 0 , CA 9026 e l a d n w a L 200 (310) 263-2 a 2013) m o l p i d l o o (High sch tute of Design sti Fashion In dise han and Merc d Ave 919 S Gran CA les, Los Ange 200 ) (213) 624-1 ign Major s e D c i h p (Gra

E WORK EXPERIENC

Taco Bell 16414 crenshaw blvd Torrance, ca 90504 310.327.3614 ) (Service Champion siness South Bay 1-Stop Bu Center Hawthorne Teen Center Blvd. 3901 W. El Segundo 0 Hawthorne, CA 9025 (Art Director)

COMPUTER SKILLS InDesign PhotoShop Illustrator Word

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GRAPHIC DESIGN

GRAPHIC DESIGN

Norberto Rosales

Norberto Rosales

nrosales1@us.fidm.edu

nrosales1@us.fidm.edu

GRAPHIC DESIGN

Norberto Rosales

nrosales1@us.fidm.edu

GRAPHIC DESIGN

GRAPHIC DESIGN

Norberto Rosales

Norberto Rosales

nrosales1@us.fidm.edu

nrosales1@us.fidm.edu 21 Rosales Portfolio winter 2014


snaps

Snaps

Gill Sans

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william burroughs

the arts journal

snap issue one volume seven ayn rand in this issue: noam chomsky paula scher fabian barone

23 Rosales Portfolio winter 2014


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24 Rosales Portfolio winter 2014

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25 Rosales Portfolio winter 2014

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the arts journal

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26 Rosales Portfolio winter 2014


the arts journal in this issue: volume seven noam chomsky

fabian barone

snap

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27 Rosales Portfolio winter 2014


the arts journal

ayn rand

snap

in this issue:

issue one

paula scher

noam chomsky volume seven

fabian barone

william burroughs

28 Rosales Portfolio winter 2014


noam chomsky issue one

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volume seven

william burroughs

noam chomsky william burroughs

noam chomsky william burroughs

fabian barone

snap snap

the arts journal

paula scher

ayn rand

noam chomsky william burroughs

in this issue:

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29 Rosales Portfolio winter 2014


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30 Rosales Portfolio winter 2014

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the arts journal

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william burroughts

volume seven

paula scher

noam chomsky

31 Rosales Portfolio winter 2014

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