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Portfolio for typography class
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Typface: Doubler
Branding: Gig Music Booking
M U S I C B O O K I N G
542 LIME STREET SEATTLE, WA 98041 [email protected] 551 2689
Dear Joe Smith,
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Praesent mattis eros a tellus. Quisque leo tortor, commodo id, dapibus et, lacinia et, justo. Ut urna sapien, dictum eu, cursus vel, consectetuer tincidunt, eros. Etiam in libero. Etiam tempor. Maecenas ligula felis, commodo eget, scelerisque id, suscipit nec, odio. Vivamus commodo, magna in mollis feugiat, felis nisl dapibus dolor, eu blandit orci nulla in orci. Cras felis ipsum, mollis at, semper et, tincidunt id, ipsum. Ut consectetuer elit nec elit. Cras luctus molestie ligula. In gravida tempor nunc.
Curabitur nisl ligula, pulvinar et, volutpat non, porta a, ipsum. Donec tristique ante at est. Pellentesque volutpat est non diam. Aenean vel velit. Suspendisse facilisis nisl et massa. Mauris nec erat. Pellentesque luctus arcu ut dui. Proin suscipit lorem id augue. Maecenas eget ipsum nec orci convallis viverra. Suspendisse potenti. Donec sed enim. Ut et turpis. Ut mattis enim nec nisl. Ut quam. Pellentesque lobortis vehicula risus.
Etiam massa erat, tempor et, elementum fringilla, pellentesque ac, odio. Cras sed felis. Aliquam erat volutpat. Etiam tristique. Donec pellentesque, nulla semper adipiscing faucibus, nibh augue semper sapien, eget feugiat dui massa et urna. Nullam ac arcu. Quisque interdum. Morbi tristique sagittis arcu. Phasellus euismod ante eget risus. Nam convallis rutrum augue. Pellentesque placerat ultrices tellus.
Ut lacinia. Sed aliquet diam at odio. Nunc ultrices pretium urna. Sed risus velit, nonummy eget, suscipit at, sagittis in, tortor. Quisque risus. Duis porta. Nunc blandit, augue et nonummy ultrices, lacus justo tincidunt nibh, eu vestibulum turpis metus iaculis ipsum. Morbi neque. Quisque augue. Etiam eleifend rhoncus metus. Aliquam auctor libero non nisi.
Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Nullam justo lectus, lobortis id, pharetra eu, pulvinar ac, nibh. Sed hendrerit pretium urna. Vivamus ut ipsum eget justo adipiscing adipiscing. Donec lectus arcu, interdum eget, malesuada a, euismod sed, sapien. Proin imperdiet, nulla sit amet mattis adipiscing, enim nibh condimentum metus, sit amet lacinia tortor arcu eget magna. Mauris eget enim at ante luctus ultricies. Integer eu nunc eget tellus iaculis vestibulum. Suspendisse potenti. Aenean aliquam mauris id turpis. Aenean a augue id urna laoreet pretium. Suspendisse pharetra viverra mi. Mauris ornare dignissim purus. Nulla urna. Aliquam gravida, nibh at tempor luctus, nisl dui ullamcorper mi, sit amet pellentesque odio orci in sapien. Duis urna.
Sincerely,
Bob Johnson
GIG MUSIC BOOKING542 LIME STREET SEATTLE, WA 98041
JOE SMITH673 MAIN STREET SEATTLE, WA 98041
STAMP
Poster: Watergate
Calendar Design
May 2013S M T W R F S
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Notes
I work with type—the kind of type actually cast in metal or carved from wood.
My design process involves taking a quick sketch or mental picture down to my press room, where I'll open drawers and cases, set type in a composition stick, move things around on the bed of the press and pull proof after proof. After a while, if
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frustration. Every success-ful letterpress piece I manage to pull off—every card or broadside or poster or letterhead or jam label—is almost always the end result of a few compromises, dead ends and workarounds. It's rare that my "vision" of a beautiful piece hasn't been ground under the heels of the many little failures along the way.
Often the "perfect" font is too big or too small, or won't fit in the measure, or is a figment of your imagination that you have been looking for, unsuc-cessfully, for years. On a computer, a couple of key strokes will take care of most problems like that.
I'm lucky, I start to get somewhere—usually after I've thrown out the sketch, the mental picture and several rounds of type.
In the many years that I've been involved, one way or another, in letterpress, I've had many conversations with designers about working with wood and metal type. Some of them start to take on a hallowed, reverential tone. Often one of us (not me) will get a faraway look in their eyes, and words like "wonderful," "craft," "art" and "beauty" start coming up.
I try not to give into the urge to snort a sardonic laugh. At this point in the conversation, I, like most letterpress people I know, will quickly trot out my excess equipment and ugly broken-down type, and try to make a quick sale before the mood fades—we all recognize the signs of someone who is teetering on the edge and who only needs a nudge to fall deeply into the dream of letterpress. It's not every day you get a chance to unload all those cases of Park Avenue and Ultra Bodoni.
IT TAKES A CERTAIN KIND AND DEPTH OF MANIA TO PUT UP WITH
And just as many other letterpress people I know, I have also happily cleared the dusty type and rusty presses out of the basements of many designers and experimen-talists who have flirted with letterpress, only to come to the slow realiza-tion that it ain't all it's cracked up to be.
Usually those people sit upstairs, slumped in a rocking chair, staring out the kitchen window with a distant expression, while a couple of sweaty, dirty, true believers haul the offending lead out of the bowels of their house.
I don't mean to say that letterpress isn't about art or craft or beauty—but those things can often come at the cost of many hours of almost soul-crushing disappoint-ment and maddening
"REAL" TYPE.
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Thank You
JORDAN AMOTH ART 222 TYPOGRAPHY
253 797 7762 [email protected] 432 WEST C STREET MOSCOW, ID 83843
