whitney

TypographyP o r T f o l i o

Winter 2011

TypographyP o r T f o l i o

L e a d i n g

T r a c k i n g

S c a L e

P o i n T

k e r n i n g

S k e wa r r L

o P a c i T y

c o L o r

g r a d i e n T

c o L u m n S

F o n T

identity

Some people are born graphic designers, I’m sure of it. I was the kid dying to do my math homework on a poster

board with glitter. Why not? If you’re born a graphic designer, you’re born challenging the rules. When your

career is not what you do, but who you are, you achieve success. My name is Whitney McLaughlin, I don’t wake up in the morning dreading work. I wake up everyday feeling ambitious and excited to throw glitter on my math. Some

people are born graphic designers, I’m sure of it.

BornForThis

[email protected]

[email protected]

References available upon request

Congratulations!

Whitney McLaughlin is seeking employment

with you. Here are just a

few things to know:

She is out, AND easy-going. She is an LA Native

(Yes, they're near extinction) She is a quick learner,

like ninja quick.She is reliable,

like a good friend. She is eager, like a beaver.

And much more!

Give the girl a call and get to know her!

She's waiting, and you'd hate to be rude.

[email protected]

ADOBE ILLUSTRATOR

I tot

ally rock at...ADOBE INDESIGN

ADOBE PHOTOSHOP

MICROSOFT OFFICE SUITEINTERNET APPLICATIONS

I was

taught by the best at...

Fashion Institute of Design and Merchandising,Los Angeles, CAAA Graphic Design, June 2013

Holy Family High School, Glendale, CAHigh School Diploma, June 2009

Greek Theater - Los Angeles, CA (Seasonal) Parking Sales, May 2011 - October 2011Macy's - North Hollywood, CA Sales Associate, October 2010 - May 2011Arnol Salon - Glendale CA Salon Assistant, April 2010 - August 2010Vans Shoes - Glendale, CA Sales Associate, May 2009-April 2010 Received perfect score with “secret shopper”Universal Studios - Hollywood CA (Seasonal) Show Control, Halloween Horror Nights, September 2009 - October 2009 Received Perfect Attendance awardGlendale Memorial Hospital - Glendale CA Emergency Room Volunteer, June 2007-January 2009 Dedicated over 200 hours of service and received award in recognitionPantages Theater - Hollywood, CA Theater Usher, July 2008 - Oct 2008

I spread smiles at...

logo Design

Design&Ampersand

Studio&

Ad

ver

tisi

ng

RESTAURANT + SPA

T R A N Q U I L I T Y ● L U X U R Y ● R E L A X A T I O N

C H I N A

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

letter- forms and their usage is visible too, to those with access to manu-

scripts, inscriptions and old books, but from others it is largely hid- den.

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 I understand them are not a set

of dead conventions but the tribal

customs of the magic forest, where

ancient voices speak from all direc-

tions and new ones move to unre-

membered 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,6and free to become more different

still, how can one honestly write a rulebook? What reason and author-

ity 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 de-

termined to forge new routes must move, like other solitary travellers,

UbiqUitoUstype

A REPORT ON PUBLIC TYPOGRAPHY

The presence of typography both good and bad,

can be seen everywhere.

By Whitney McLaughlin

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

letter- forms and their usage is visible too, to those with access to manu-

scripts, inscriptions and old books, but from others it is largely hid- den.

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

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,6and free to become more different

still, how can one honestly write a rulebook? What reason and author-

ity 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 de-

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

Rian Hughes Rian studied at the LCP in London before briefly working for an advertising agency, i-D magazine, Smash Hits magazine and a series of record sleeve design companies. Having cut his teeth drawing comics for Paul Gravett’s seminal alternative press comic magazine “Escape”, for Belgium’s Magic Strip he co-wrote and drew the graphic novel “The Science Service”, published in five languages. This was followed by “Dare”, an “iconoclastic revamp of the ‘50s comic hero Dan Dare” with Eisner-award winning writer Grant Morrison for Fleetway’s experimental Revolver magazine. He then moved to the legendary 2000AD, where he drew Really and Truly (again with Morrison), Tales from beyond Science (with Mark Millar, Alan McKenzie and John Smith) and the classic character RoboHunter with Peter Hogan. These strips and more have recently been collected and republished in the hardback collection, “Yester-day’s Tomorrows”, which was recently launched at the Institute of Contemporary Arts, London. (Knockabout, 2008).

Hughes has since worked extensively for the British and American comic industries as both designer, typographer and illustrator, notably creating many logo designs for DC and Marvel, including Batman and Robin, Batgirl, the X-Men, Captain America, Wolverine, The Spirit, The Invisibles, Shade the Changing Man, The Atom and more. Work also includes title sequences for The Box, poster designs for Tokyo fashion company Jun Co.’s Yel-low Boots chain, the animated on-board safety film for Virgin Airlines, Eurostar’s poster campaign, a collection of Hawaiian shirts, a range for Swatch and a BDA International Gold Award and Creative Use of Print Award-winning brochure for MTV Europe’s Music Awards, written by Alan Moore, numerous book covers including the BBC Radio Drama version of Philip Pullman’s His Dark Materials trilogy. He has designed CDs and vinyl sleeves for indie labels such as Transient and Automatic as well as mainstream acts like Geri Halliwell, with whom he recently collaborated as illus-trator on a series of six children’s books. His advertising typography earned a Campaign Press Awards Silver in 1996 and a Merit Award from the New York Art Director’s Club in 2000. He was an early contributor to FontShop’s seminal FontFont range, and now fonts designed for clients such as Mac User, 2000AD, Newquay Steam and PC Format magazine are released via his own label, Device Fonts. He has contributed to numerous design annuals, books and international exhibitions, lectured widely both in the UK and internationally, and a one-man show of his work was held recently at the Conningsby Gal-lery, London.

“One of the most successful & prolific designer/illustrators of the past 20 years” [Roger Sabin, Eye maga-

Rian Hughes Rian studied at the LCP in London before briefly working for an advertising agency, i-D magazine, Smash Hits magazine and a series of record sleeve design companies. Having cut his teeth drawing comics for Paul Gravett’s seminal alternative press comic magazine “Escape”, for Belgium’s Magic Strip he co-wrote and drew the graphic novel “The Science Service”, published in five languages. This was followed by “Dare”, an “iconoclastic revamp of the ‘50s comic hero Dan Dare” with Eisner-award winning writer Grant Morrison for Fleetway’s experimental Revolver magazine. He then moved to the legendary 2000AD, where he drew Really and Truly (again with Morrison), Tales from beyond Science (with Mark Millar, Alan McKenzie and John Smith) and the classic character RoboHunter with Peter Hogan. These strips and more have recently been collected and republished in the hardback collection, “Yester-day’s Tomorrows”, which was recently launched at the Institute of Contemporary Arts, London. (Knockabout, 2008).

Hughes has since worked extensively for the British and American comic industries as both designer, typographer and illustrator, notably creating many logo designs for DC and Marvel, including Batman and Robin, Batgirl, the X-Men, Captain America, Wolverine, The Spirit, The Invisibles, Shade the Changing Man, The Atom and more. Work also includes title sequences for The Box, poster designs for Tokyo fashion company Jun Co.’s Yel-low Boots chain, the animated on-board safety film for Virgin Airlines, Eurostar’s poster campaign, a collection of Hawaiian shirts, a range for Swatch and a BDA International Gold Award and Creative Use of Print Award-winning brochure for MTV Europe’s Music Awards, written by Alan Moore, numerous book covers including the BBC Radio Drama version of Philip Pullman’s His Dark Materials trilogy. He has designed CDs and vinyl sleeves for indie labels such as Transient and Automatic as well as mainstream acts like Geri Halliwell, with whom he recently collaborated as illus-trator on a series of six children’s books. His advertising typography earned a Campaign Press Awards Silver in 1996 and a Merit Award from the New York Art Director’s Club in 2000. He was an early contributor to FontShop’s seminal FontFont range, and now fonts designed for clients such as Mac User, 2000AD, Newquay Steam and PC Format magazine are released via his own label, Device Fonts. He has contributed to numerous design annuals, books and international exhibitions, lectured widely both in the UK and internationally, and a one-man show of his work was held recently at the Conningsby Gal-lery, London.

“One of the most successful & prolific designer/illustrators of the past 20 years” [Roger Sabin, Eye maga-

W

Mc"Great fonts are the faces that inspire me."