What my car says about me--infographic #3

Timeline

Information Not Included On My Resume / Visc204 Project 2 A

Illustrations

First time I've created any art of this kind. I have to admit, I did enjoy myself. Not sure how "good" these are. I am looking forward to seeing what the other creative minds in my class came up with!

Whimsical--more my style

Crazy--how I was feeling that day (LOL)

Dark, Somber and Mysterious....

Akzidenz Poster(s)

So, I missed the mark COMPLETELY with my first set of posters. I now know (hopefully) how to compose my layouts. Here are my first 3 "new" layouts:

Random Photos & A Video

The Sun

Under My Bed

Recreate this Snapshot

Holding Hands

View from a Tree

 Dancing Video

Type Classifications

Oldstyle: 1435

• Axis of thick-thin contrast slopes slightly to the left
• Cross-bar of the lowercase 'e' is horizontal
• Top serifs are roof-shaped and have triangular form
• Base serifs have no or hardly any rounding at bottom
• Examples: Bembo, Garamond, Palatino, Plantin, Albertina

Transitional: 1750

• Axis of thick-thin contrast is almost vertical or slopes very slightly to the left
• Base serifs are only a little or virtually not rounded at the bottom
• Lowercase 'e' has horizontal cross-bar
• Top serifs of lowercase letters are roof-shaped
• Serifs sometime rounded, sharpened, or horizontal
• Examples: Baskerville, Concorde, Fournier, Perpetua, Times New Roman

Modern: 1775

• Typefaces that have a high thick-thin contrast
• Serifs sometimes rounded, sharpened, or horizontal
• Vertical stress axis
• Thin serifs
• Emphasis on vertical stroke, sharp contrast, symmetry, and sharp transition to straight serifs
• Examples: Bodoni, Didot, Walbaum, Linotype Centennial, Vertrina

Slab: 1800's

• Heavy, rectangular serifs
• Serif weight is almost as thick as the letter itself
• Terminals may be blunt, angular, or rounded
• Examples: Clarendon, Rockwell, Beton, Egyptienne, Courier

Sans-Serif Grotesk (and Gothic): 1920's

• Line thicknesses seem to be equal, but have a slight visual thick-thin contrast
• Ascender height is usually equal to the capital height
• The cure of the lowercase 'e' is pointed up towards the crossbar
• The lowercase 'g' has an open curve that ends pointing upwards
• Examples: Akzidenz Grotesk, Helvetica, Univers, Arial, Futura

Sans-Serif Humanist:

• No serifs
• Line widths are visually equal
• Extension on lowercase 'e' points to right instead of turning toward the cross-bar
• Lowercase 'g' often has classic form with two 'bowls'
• Characters have more distinguishing forms than those of other sans-serifs
• Examples: Gill Sans, Profile, Frutiger, Scala, Myriad

Sans-Serif Geometric:

• No serifs
• Axis of roundings is vertical
• Letters seem to have been drawn using ruler and compass
• Line thicknesses are only visually and minimally corrected
• Examples: Futura, Avenir, DTL Nobel, Erbar, Eurostile

Food Truck Final Layouts, etc.

So, I have completed my food truck project a few days early. I am not going to be able to work on it this weekend, so I worked hard this past weekend to get it completed. I am pretty pleased with the result. After loosing several Illustrator files ( corrupted), and then re-building the lost elements, I am relieved to have this project completed!

AKZIDENZ GROTESK

Akzidenz Grotesk:

**San Serif
**Grotesk
** H.Berthold (and Gunter Gerhard Lange)
**1898, Germany



Bio. :

Hermann Berthold

Born in 1831, Hermann Berthold was the son of a calico-printer. On completion of his apprenticeship as a precision-instrument maker and after practical experience gained abroad in galvanography, Hermann Berthold founded his “Institute for Galvano Technology” in Berlin in 1858. Very quickly he discovered a method of producing circular lines from brass and not, as customary at that time, from lead or zinc. The soldering normally necessary could also be dispensed with. The lines were elastic and therefore highly durable. They produced outstandingly fine results. Most of German’s letterpress printers and many printers abroad placed their orders with Berthold. His products became so popular that the print trade popularized the saying “As precise as Berthold brass”.
In 1878 Hermann Berthold was commissioned to put an end to the confusion of typographic systems of measurement. With the aid of Professor Foerster he succeeded in devising a basic unit of measurement (1m = 2,660 typographic points). This was the birth of the first generally binding system of typographic measurement. It is still used in the trade. Hermann Berthold served as the head of the Berthold type foundry until 1888.

Günter Gerhard Lange (1921-2008)

Information about the typeface designer Günter Gerhard Lange and his fonts.

Günter Gerhard Lange was born in Frankfurt-an-der-Oder, Germany, in 1921. His education was interrupted with the outbreak of the second world war when he was called into military service. Only a year later he suffered a serious injury, and the subsequent loss of his leg lead to a medical discharge from the German Army.
In 1941 he embarked on a masters course at the Academy of Graphic Arts and the Book Trade in Leipzig. He studied calligraphy, typesetting, and printing with Professor Georg Belwe, and drawing, etching and lithography with Professor Hans Theo Richter. On completing his course Lange took the position of assistant to Professor Walter Tiemann at the Leipzig Institute. During the early post-war years Lange worked as a freelance artist in Leipzig.
In 1949 he moved to Berlin and enrolled at the University of Pictorial Arts, studying freelance art with Professor Paul Strecker and drawing with Professor Hans Ullman. On graduation on returned to freelance work with his first major client the typeface foundry, Berthold AG. He was promoted to artistic director in 1961 a position which he held until 1990.
He was not only the designer of classic typefaces such as Akzidenz-Grotesk BQ, Berthold Bodoni Old Face BQ, and Imago BQ, but also a communicator and teacher who was an inspiration to many young type designers.
He died in 2008 at the age of 87.
[DJD, December 2008]

How to make an origami crane

YouTube video on how to make a paper crane

Revised FT logo

Original (whimsical) logo looked too much like a stork. Cranes and storks do look a lot alike. I did a revision, and I am pretty sure this is it. I am open to change,so you never know. Now onto the truck's graphics, and uniforms.....

Food Truck logos