Shiman ShanPortfolio Samples
Shiman Shan
The 500 An exploration of five elements: texture, balance, rhythm, anomaly and contrast expressed in a series of five hundred and fifty-five drawings. Results and process bound into a book.5.75 x 8.75’’ 2009
Shiman Shan
ABC3D Redesigning the cover of Marion Bataille’s pop-up book ACBC3D. Inspiration for the cover image is the color scheme of the book combined with the most basic pop-up technique known to man, and the three-dimensional qualities made possible by a letter press. 7.75 x 5.5” 2010
Shiman Shan
The Book asArt
Krystyna Wasserman
Artists’ Books from the National Museum of Women in the Arts
The B
ook as Art
PrincetonArchitectural Press
Krystyna W
asserman
The Book as Art 2.indd 1 4/13/10 12:51 PM
The Book as ArtRedesigning the cover of Krystyna Wasserman’s book The Book as Art 7.25 x 8.75” 2010
The Book asArt
Krystyna Wasserman
Artists’ Books from the National Museum of Women in the Arts
The B
ook as Art
PrincetonArchitectural Press
Krystyna W
asserman
The Book as Art 2.indd 1 4/13/10 12:51 PM
Shiman Shan
DESIG
NIN
G W
ITH LIG
HT Franz W
erner
Lars Müller
Designing with Light3.indd 1 4/13/10 12:47 PM
Designing with LightDesigning the cover of Franz Werner’s book yet unpublished Designing with Light. The cover image is reflective of the photograms that Werner likes to use in many of his graphic design work. 6.75 x 9.25” 2010
Shiman Shan
Elite Lefty A video based on my study of being left-handed in a right-handed world. A number of right-handers were asked to cut out circles with a pair of left-handed scissors. Their struggles were recorded and the circles were kept for further documentation. Compact size 5 x 5’’ 2009
Shiman Shan
M Figh
ters
L E T ’ S
A C T U A Lnew people. They’ll be more intrigued if they don’t
IM
&
Visual Hierarchy 10 x 10” 2009
Da bit mysterious when trying to attract
know everything about your life.
Richard duPont
WELCOMED AS THE FRIENDS OF GOD
OF
SPEAKS RIGHTEOUSNESS IN ME, AND WH CAN
STANDS IN MY DEFENSE
B I GB E AR
BIGBEAR
B I G B E AR
Shiman Shan
VelocityA flip book inspired by the word ‘velocity’. It follows the decline of a tooth due to cavity. 3 x 2’’ 2008
Shiman Shan
Designed by Jan T
schichold in 1964, Sabon is a typeface m
eant to echo the typefaces of C
laude Garam
ond while being fitted
for use on both Linotype and M
onotype m
achines. T
he specim
en of
Garam
ond that it is specifically based on is printed by K
onrad F. Berner w
ho’s wife w
as the w
idow of a m
an named Jacques Sabon.
That is w
here the typeface acquired it’s nam
e. Sabon was know
n for popularizing G
aramond’s typefaces in Frankfurt.
Sabon is often noted as a revival of G
aramond. It is a highly readable typeface
and is used in many areas of book design
and brand identity.A
n example of the use of Sabon is the
Washburn C
ollege Bible. It w
as typeset in 1973 by an A
merican graphic designer by
the name of B
radbury Thom
pson.
SAB
ON
Jan Tschichold
1964
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%$
+\{}[]∆
√∫≠
∑€
ℓ≥
§¶
€μ
π∫£
¼½
¾¿
#¢
12
34
56
78
90
12
34
56
78
90
12
34
56
78
90
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d ef g h i j kl m n o pq r s t uv w x y z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
a b c d ef g h i j kl m n o pq r s t uv w x y z
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Jan T
schichold
Shiman Shan TYPE 02 FWerner
Sabon postcard.indd 14/20/10 11:37 AM
Designed by Jan Tschichold in 1964, Sabon is a typeface meant to echo the typefaces of Claude Garamond while being fitted for use on both Linotype and Monotype machines. The specimen of Garamond that it is specifically based on is printed by Konrad F. Berner who’s wife was the widow of a man named Jacques Sabon. That is where the typeface acquired it’s name. Sabon was known for popularizing Garamond’s typefaces in Frankfurt.
Sabon is often noted as a revival of Garamond. It is a highly readable typeface and is used in many areas of book design and brand identity.
An example of the use of Sabon is the Washburn College Bible. It was typeset in 1973 by an American graphic designer by the name of Bradbury Thompson.
SABON Jan Tschichold
1964
; : ” ? / ! * & % $ + \ { } [ ] ∆ √ ∫ ≠ ∑ € ℓ ≥ § ¶ € μ π ∫ £ ¼ ½ ¾ ¿ # ¢1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 01 2 3 4 5 6 7 8 9 0
AB
CD
E
FG
HIJ
K
LM
NO
P Q
RS
TU
V
WX
YZ
ab
cd
efg
hij
klm
no
pq
rstu
vw
xy
z
AB
CD
E
FG
HIJ
K
LM
NO
P
QR
ST
U
VW
XY
Z
ab
cd
efg
hij
klm
no
pq
rstu
vw
xy
z
AB
CD
E F
GH
IJK
LM
NO
P Q
RS
TU
V
WX
YZ
Jan Tschichold
Shim
an S
han
TY
PE 0
2 FW
erne
r
Sabon postcard.indd 1 4/20/10 11:37 AM
Sabon A postcard designed to show the typeface Sabon and its characteristics. 8.5 x 5.5” 2010
Shiman Shan
Friday’s MenA website exercise displaying two-frame gif files inspired by the movements of men vacuuming. 2009
Shiman Shan
Process Work Notebook 2009
Shiman Shan
Helvetica ManA sign for a reoccuring problem.Illustrator. Printed size 11 x 14” 2009
Shiman Shan
Univers 47
4645 47 49
53 54 5655 57 5958
39
63 64 6665 67 68
73 74 7675
8685
9493
48
Uni
vers
Typ
e Sp
ecim
en 8
.5 x
11”
200
9
Univers 47
As a student in Zurich, Adrian Frutiger began work on Univ-ers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univ-ers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical sys-tem for many other faces. All twenty-one Univers faces were designed to work together, so they can be mixed in a variety of ways. Their legibility lends itself to a large variety of appli-cations, from text and headlines to packaging and signage.
History
Univers 47
4645 47 49
53 54 5655 57 5958
39
63 64 6665 67 68
73 74 7675
8685
9493
48
Shiman Shan
Univers 47
6 point
A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0
6/6As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many
6/7
As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many
6/8
As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many
Univers 48
A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0
Univers 47
18 point
& $ ( . , “ ; : ) * ? ! ¼ ½ ¾
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0
Univers 48
& $ ( . , “ ; : ) * ? ! ¼ ½ ¾
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0
Univers 47
6 point
A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0
6/6As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many
6/7
As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many
6/8
As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neo-grotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger. Linotype also has adopted this numerical system for many
Univers 48
A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v q x y z& $ ( . , “ ; : ) ? ! ¼ ½ ¾1 2 3 4 5 6 7 8 9 0
Shiman Shan | 917.803.0499 | http://risd.digication.com/shimanshan