JULIA WALCK

A TYPOGRAPHIC

OF WORK BY

THE

SPRING 2011

AT FA S H IO NINSTITUTE OF

FEATURING GRAPHIC

EDIT

ORI

AL

POST

ERS

BRA

ND

LOG

OS

BO

OK

CO

VER

PROJECTS CONSISTING

&MOREOF

22SIGNATURE +BIO

Julia Walck is an eighteen year old graphic designer from Huntington Beach, California. She is currently

studying at the Fashion Institute of Design and Merchandising in Los Angeles and hopes to push herself further in her creative abilities. Her outlook on the world is very optimistic; she strives to find inspiration in everything and to reflect that in her work. She hopes to inspire others in their artistic endeavors and that others will find their inner artist.

44

BRANDING

JULIA

ALCK

JU IA WALCKGRAPHIC DESIGNERCELL: 714.478.7162JULIAWALCK@YAHOO.CO

ULIA WALCK

OBJEC T I V E :

E D U C AT I O N :

S K I L L S :

S O F TWA R E :

M E D I A :

I N T E R ES T :

Graphic Design MajorThe Fashion Institute of Design and Merchandising Los Angeles, CA GPA: 4.0

Illustrator CS5Photoshop CS5InDesign CS5Microsoft Word

Watercolor, acrylic and gouache paintsIndia InkPenMarker

As a graphic designer, I strive to create beautiful designs that are intriguing and aesthetically pleasing to the eye, all while communicating a certain idea.

Graphic DesignPhotographyIllustrationTypography

Hard-workingOrganizedTime managementCreative thinking

714.478.7162jul iawalck@yahoo.com

66 OGO DESIGNS

a modern eateriegrand

granda modern eaterie

i j iB e ngHoliday ResortR E S T A U R A N T + S P AVERVE

88ADVERTISING

Where Year of the Rabbit Began and the Future Begins

Designed by Philippe Starck, the Beijing Holiday Resort is a state-of-the-art modern luxury hotel located in the heart of China.

R E S T A U R A N T + S P A

Holiday Resort

i j iB e ng

Typography 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 letterforms 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 some-thing 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 fi eld 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? Surelytypographers, 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 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 fi fteenth century, when the fi rst 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.

u b i q u i t o u s t y p ea v i s u a l r e p o r t o n p u b l i c t y p o g r a p h y

“ T y p o g r a p h y i s t h e c r a f t o f e n d o w i n g h u m a n l a n g u a g e w i t h a d u r a b l e v i s u a l f o r m , a n d t h u s w i t h a n i n d e p e n d e nt e x i st e nc e . ”

MAXiedinger

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.[1]

When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.[2]

In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica (derived from Confoederatio Helvetica, the Latin name for Switzerland) in order to make it more marketable internationally. It was initially suggested that the type be called ‘Helvetia’ which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn’t be appropriate to name a type after a country. He then decided on ‘Helvetica’ as this meant ‘Swiss’ as opposed to ‘Switzerland’.

Helvetica is among the most widely used sans-serif typefaces. Versions exist for the following alphabets/scripts: Latin, Cyrillic, Hebrew, Greek, Japanese, Korean, Hindi, Urdu, Khmer and Vietnamese. Chinese faces have been developed to complement Helvetica.

Helvetica is a popular choice for commercial wordmarks, including those for 3M, American Airlines, American Apparel, BMW, Jeep, JCPenney, Lufthansa, Microsoft,

Mitsubishi Electric, Orange, Target, Toyota, Panasonic, Motorola, Kawasaki and Verizon Wireless.[14] Apple Inc. has used Helvetica widely in Mac OS X (as default font for sans-serif/Swiss generic font family), iOS (previously iPhone OS), and the iPod. The iPhone 4 uses Neue Helvetica.[15]

Helvetica is widely used by the U.S. government; for example, federal income tax forms are set in Helvetica, and NASA uses the type on the Space Shuttle orbiter.[1] Helvetica is also used in the United States television rating system.

New York City’s Metropolitan Transportation Authority (MTA) uses Helvetica for many of its subway signs, but Helvetica was not adopted as the offi cial font for signage until 1989. The standard font from 1970 until 1989 was Standard Medium, an Akzidenz Grotesk-like sans-serif, as defined by Unimark’s New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including Arial, in addition to some old remaining signs in Medium Standard, and a few anomalous signs in Helvetica Narrow.[16]

The Chicago Transit Authority uses Helvetica on its signage for the Chicago ‘L’. The former state owned operator of the British railway system developed its own Helvetica-based Rail Alphabet font, which was also adopted by the National Health Service and the British Airports Authority. Additionally, it was also adopted by Danish railway company DSB for a time period.[17] Canada’s federal government uses Helvetica as its identifying typeface, with three variants being used in its corporate identity program, and encourages its use in all federal agencies and websites.[18]

&ABCDEabcde12345†

76 pt. Code bold

98 pt. Helvetica regular

12 pt. Times

1414

BOOK DESIGN

1616

POSTE

DESIG