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PORTFOLIO


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COVER Myriad Pro- Regular Didot- Regular 2

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Giovanni Perez

Graphic Design

Giovanni Perez Graphic Design

Giovanni Perez

Graphic Design


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

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.

By Giovanni Perez 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

this book is not typographic solitude, but the old, well traveled 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 Free to become more different still, use of a road: to reach individual ally how can one honestly write a rulechosen points of departure. By all book? What reason and authority exist means break the rules, and break them for these commandments, suggestions, beautifully, deliberately, and well. That and instructions? Surely typographers, is one of the ends for which they exist. like others, ought to be at liberty to folLetter forms change constantlow or to blaze the trails they choose. ly, yet differ very little, because they Typography thrives as a shared are alive. The principles of typographic concern and there are no paths at all clarity have also scarcely altered since where there are no shared the second half of the fifteenth century, desires and directions. A when the first books were printed in typographer determined to roman type. Indeed, most of the prinforge new routes must move, ciples of legibility and design explored like other solitary travelers, in this book were known and used by through uninhabited country Egyptian scribes writing hieratic script and against the grain of with reed pens on papyrus in 1000 the land, crossing common B.C. Samples of their work sit now in thoroughfares in the silence museums in Cairo, London and New before dawn. The subject of York, still lively, subtle, and perfectly


“Typography is the craft of endowing human language with a durable visual form,and thus with an independent existence.” 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 t 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 The principles that unite these medium. I suppose that most readers distant schools of design are based on of this book will set most of their type in digital form, using computers, but I the structure and scale of the human body the eye, the hand, and the forehave no preconceptions about which brands of computers, or which verarm in particular and on the invisible but no less real, no less demanding, no sions of which proprietary software, they may use. The essential elements less sensuous anatomy of the human mind. I don’t like to call these principles of style have more to do with the goals the living, speaking hand - and its universals, because they are largely unique to our species. Dogs and ants, 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. 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.


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Photo by David La Chapelle. Quite possibly the onl;y photographer I am a fan of...this picture is EVERYTING!

A la Andy Warhol...I am a big fan of his. His influence is seen everywhere. Perhaps I’m always looking for it...maybe it’s looking for me?

Women, like to be strong when they want to...but very quick to play the damsel in distress when it suits them...how lucky for them


this image reminds me of the two faces we sometimes carry. Interchangeabley, they could both mean both...

A commentary on homophobia in our society. The question requires no answer. It’s obvious to me the answer is NO! Most likely I speak from a place of anger

Tired of hearing what’s healthy and what not, what you should eat, do say! OVER IT!


What can be said about this project? To be honest, it was tedious, overrated, annoying and creatively stiffling! However, I did learn a great deal from it. It was not until the end of the project itself that I noticed the evolution of my typographical aesthetic. I am grateful for the knowledge gained, but will happily admit that if I never see another SNAP again, I would not be heartbroken. Sometimes the hardest thing for a designer to do is hold back and show restraint. Like asking a painter to only use one color, one shape, one idea; so was the ardouous task of completing this assignment. It forced me to strecth my mind and think even more creatively. Evoke more emotion with minimal means. For that I am thankful, but the rebel in me refuses to go down quietly into night. Points may be deducted, but I will not be happy unless I say it, or should I say, TYPE it my way:

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