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SI G NAT U R E + B IO

g r a p h i c

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d e s i g n

was born and raised in southern California. I grew up in a town called Santa Clarita. I’ve done most of my schooling there. As a small child, I would always have a pad of paper and pencil with me. I would sit for hours and draw. Drawing is still a great passion of mine. Because of my passion, I could not picture myself in a career that would not be related to art. Therefore, I am attending FIDM majoring in graphic design which I ďŹ nd fascinating. I am learning a lot and building my portfolio. After graduating, I look forward to interning and working for an advertising agency. I want to design logos, design packaging, and much more. I am at a great place to get started on my future in graphic design.


EXPERIENCE US Bank Teller 2 Cell: (661) 305-5555 Email: vggonzalez81@gmail.com

2010 - Present

Anaheim, CA

 Assisted patrons with various financial and customer services  Worked with merchant clients by assisting them with quick and accurate high volume transactions  By recognizing customers’ needs, introduced and sold them appropriate bank products Century Diamond Customer Service Representative

2009 – 2010

Los Angeles, CA

 Assist customers with requests, inquiries and issues in regards to products and invoices  Follow up on delinquent accounts and process over-the-phone payments  Input new products into company inventory database  Participated in design of email marketing layouts, flyers, pamphlets, and other promotional marketing Glen Ivy Day Spa Massage Therapist /Spa Attendant

2005 – 2009

Valencia/Brea, CA

 Performed massage therapy on a wide range of clients  Built clientele from customer satisfaction and recommendations  Educated guests about products and services  Focused on keeping a clean, neat, and friendly spa environment  Up-sold spa services Washington Mutual Bank BK/FC Associate

2003 – 2005

Northridge, CA

 Provided customer services over-the-phone by answering customers’ questions regarding their statements, impound account (Insurance/Taxes), loan status, etc.  Contacted customers with delinquent loans and processed “Just In Time” over-the-phone home loan payments  Handled and ordered loan payoff requests  Worked with customers and other appropriate internal departments to expedite and resolve bankruptcy, foreclosure, and collections issues on home loans


LOGO DESIGNS

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Ubiquitous T

type

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 wilde ness 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 unrmembered forms. One question, nevertheless, has been often in my mind. When all rightthinking 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.

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


Renner Paul

P

aul Friedrich August Renner was born in Wernigerode, Germany on August 9th, 1878. Growing up into his teenage years he studied Greek and Latin for 9 years, and then moved on to study art at a higher level, finishing his formal education in 1900. Following this Renner became involved with design and became concerned with typeface and book design. During the summer of 1924, Renner started to work on what would become a typeface called Futura, his most wellknown work. Futura was a very important type of the time, especially in Germany, as it was a movement towards the modern roman letter and a departure from the Blackletter. Renner's Futura has also become the inspiration and foundation for many geometric types to date, and for that alone he deserves mention. During his career he designed two other typefaces, Plak and Tasse, which like Futura are also commercially available. Furthermore, throughout his time, he wrote a number of books; Typographie als Kunst (Typography as Art), Die Kunst der Typographie (The Art of Typography) and Color Order And Harmony to name a few. After a long career at the age of 78, Paul Renner died on April 25th, 1956 in Hรถdingen, Germany.

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