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Typography Fall 2011 Shelby Kendall Schutze

The Fashion Institute of Design & Merchandising✢

Shelby SchutzeGRAPHIC DESIGN

My Name Is Shelby.

I am a Graphic Design Major at the Fashion Institute of Design &

Merchandising. This is my second quarter here at FIDM. I was born and raised

in Ojai Ca. I am 18 years old and have just graduated high school. I love every

aspect of Graphic Design and cant wait to work in the industry. I really like that

there are so many different areas in the profession to work within. At this point

I see myself working in publication, packaging, or logo design. I think that these

areas would be most interesting to me. I am open to change, and know that I

could change the area that i would like to work within. I know that wherever

I end up working or what area of the job I will be working in i will be happy

because I love what I do. If you can find something you love, you will never have

to work a day in your life.

[email protected]@us.fidm.edu(805)701-5237


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aeL I G A T U R E P R E S S

E s t a b l i s h e d 1 9 9 0

(805)701-5237 [email protected]

[email protected]

Objective:My goal is to gain employment inthe field of Graphic Design,

Package Design, Logo Design, or any relevant position within

the industry.

S k i l l s :A d o b e P h o t o s h o pA d o b e I l l u s t r a t o r

A d o b e I n D e s i g nA d o b e B r i d g eP h o t o g r a p h y

E d u c a t i o n :- F a s h i o n I n s t i t u t e o f D e s i g n

a n d M e r c h a n d i s i n g .2 0 11 - P r e s e n t

- Ve n t u r a C o l l e g e 2 0 0 8 - 2 0 11

- E l C a m i n o H i g h S c h o o l 2 0 0 8 - 2 0 11

Logo Designs


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aeL I G A T U R E P R E S S

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E s t a b l i s h e d 1 9 9 0

Rest au rant + Spa

&Ampersand Design Studio

* Mature MT Script Capitals18 pt

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Relaxation at its Finest.

UbiqUitoUs typeA r e p o r t o n p u b l i c t y p o g r a p h y

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

b y s h e l b y s c h U t z e

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 andold books, but from others it is largely hidden.

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 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 bee 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 pre- cisely 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 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.

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, t rue surprise.

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

A r i e s G i l l S a n s G i l l F a c i a G i l l Fo r i a t e d C ap i t o l s H u m a n i s t 5 2 1 Jo a n n a J u b i l e e L ap i d a r y 3 3 3 Pe r p e t u a

g GillSculptor | Typographer | Writer

A r i e s G i l l S a n s G i l l F a c i a G i l l Fo r i a t e d C ap i t o l s H u m a n i s t 5 2 1 Jo a n n a J u b i l e e L ap i d a r y 3 3 3 Pe r p e t u a

Eric Gil l was one of the most colourful f igures in early 20th century art, despite the majority of his prints being in black and white . Sculptor,

typographer, and writer. In 1914 he met typographer Stanley Morison. By 1924 Gil l was in Wales where he soon produced the Perpetua font for Morison and the Monotype Corporation, based on the classic Roman lettering of the Trajan column. Gil l Sans followed in 1928. It was based on lettering by Edward Johnston who designed signage for the London Underground. Soon after he moved once again, this time to Pigotts outside London where he set up a printing press, Hague and Gil l . Gil l Sans is currently used for many British Railroad Signs . (Information from ericgi l l .com)

GillSculptor | Typographer | Writer

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Shelby SchutzeGRAPHIC DESIGNS“ToLiveA

CreativeLifeWeMustLoseOurFearOfBeingWrong”

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