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                                                                                                           March 12-April 8, 2010
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                                      &*%#C/.-1/$%)&CA/$@+1"=$+%D>$*$%"11*&1*-".$B%                                                                                                                 518.382.7581
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Type Specimen Book

much different than our own human skeletal structures. This holds true for the typeface Ripe, a
geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This
type specimen book uses original illustration to take you through all the elements of this font
while subtly examining this relationship.
/0:.)"%EFG%7-H'<-00-(
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$3/)*,3%C'1(:%-$%C*00%-$%C'1(%41'5%.#$#3#,+%-13#$3$%-,)%4-A/03<>%ID2*1#5*,3-0%3<2'+1-2"<%-,)%
0-<*1#,+%'4%#5-+*$%1*40*A3%3"*%/,#M/*%-*$3"*3#A%'4%3"*%)*2-135*,3>
{William}
                                                                                         CASLON
                                                                                           abcdefghijklmnopqrstuvwxyz




                                                                                                                          C    aslon is classi ed as an Old Style serif
                                                                                                                             typeface with visual characteristics that
                                                                                                                        include thick, stubby serifs, heavier strokes,
                                                                                                                                 and a proportionally larger x-height.
                                                                                                                        Caslon also has a medium to high contrast
                                                                                                                          between thick and thin letter strokes and
                                                                                                                               nally Caslon has a near vertical stress.
                                                                                                                         William Caslon designed the font Caslon
                                                                                                                            as an extremely readable typeface that is
                                                                                                                                    often used by magazine and book
                                                                                                                               designers as both a body text font and
                                                                                                                            display font. Caslon is unique because it




                                                                                        1725
                                                                                                                            was the nal expression of an Old Style
                                                                                                                              font and could almost be regarded as a
                                                                                                                         Transitional face. Caslon can be compared
                                                                                                                             to an umbrella because both are highly
                                                                                                                                   functional. Caslon was used in the
                                                                                                                             Declaration of Independence as well as
;$'<"#%IDJ-K$9-%8"'0-(                                                                                                            many other important government
                                                                                                                         documents. e utility of these documents
!"#$%2'$3*1%*D-5#,*$%3"*%#A',#A%3<2*4-A*%J-$0',>%N#$3'1#A-0%#,4'15-3#',%-,)%'1#+#,-0%                                      can be compared to the use and function
2"'3'+1-2"<%5-(*%-%A',,*A3#',%&*3C**,%3"*%4/,A3#',-0#3<%-,)%$31/A3/1*%'4%J-$0',%                                         of an umbrella. e umbrella also mimicks
                                                                                                                            many of the shapes and letterforms that
0*33*1%4'15$%-,)%-,%/5&1*00->                                                                                                make up the schematics of Caslon; one
                                                                                                                        letterform in particular is the lowercase “t”.
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                                                                                       !"#$%&'&()*+,-.//&-.0001                                                     ,$*+/,*$0123456667




                                    !"#$%&'#()*'+,-.'"#&/)))))))))))))))#")))))))0,&                                                                                                        !"#$%&'#()*'+,-.'"#&/)))))))))))))))#")))))))0,&
                                    1--%+2.,)2#*)&'3,#.)(%'*,/)))))))#")))))))0,&                               !"#$%&'#()*'+,-.'"#&/)))))))))))))))#")))))))0,&                            1--%+2.,)2#*)&'3,#.)(%'*,/)))))))#")))))))0,&
                                                                                                                1--%+2.,)2#*)&'3,#.)(%'*,/)))))))#")))))))0,&




                4%%#.")!"562&&,&)                                                           4%%#.")!"562&&,&)                                                           4%%#.")!"562&&,&)
                23720&)+,3'283,                                                             23720&)+,3'283,                                                             23720&)+,3'283,




/::#0"%;"5J$''%4.%/-()-'
!"#$%$*1#*$%'4%-)$%4'1%9//,3'%J'52-$$*$%*,A'/1-+*$%-).*,3/1*1$%3'%/$*%3"*%A'52-$$%#,$3*-)%
'4%)#+#3-0%,-.#+-3#',%$<$3*5$>%H$#,+%A'55',%2"1-$*$:%3"*%-)$%*52"-$#O*%-,)%2'(*%4/,%-3%3"*%
2#34-00$%'4%)#+#3-0%,-.#+-3'1$%-,)%3"*%41/$31-3#',%3"*<%A-,%A-/$*>
Rapunzel Rapunzel Please


               E    very year, Americans spend
                    billions of dollars caring for
               their hair. They lovingly style, color
               and add extensions to their manes,
               and may invest in hair replacement
               procedures and prescriptions to

               segment of the population suffers
               from the fear of hair. The fear of

               Chatophobia.
                    Some people fear hair because
               they feel it is dirty. Their phobia
               may be an offshoot of germophobia,
               the fear of germs. Since hair can
               carry certain bacteria, and can also
               be subject to headlice and dandruff,
               it can be repulsive to many people.




;B$0"JB"6)$%&$>$L)#-%/J(-$.
!"#$%$21*-)%.#$/-00<%)*4#,*$%A"-3'2"'&#-:%3"*%4*-1%'4%"-#1>%!"*%'1#+#,-0%7,3-+0#'%
#00/$31-3#',%1*.*-0$%?-2/,O*0%*,3-,+0#,+%"*1%21#,A*%C#3"%"*1%)*-)0<%0'A($>
Type Specimen Book

much different than our own human skeletal structures. This holds true for the typeface Ripe, a
geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This
type specimen book uses original illustration to take you through all the elements of this font
while subtly examining this relationship.
W
                                                                                                                                             hen you break down a let r        rm


                                                                                                                                             its most basic components you will find




                                                                                                   INTRODUCTION
                                                                                                                            a struc re not much different than our own human


                                                                                                                            s   le l struc res. This holds true   r the typeface Ripe, a


                                                                                                                            geometric, post–modern, slab serif    nt whose stro   s and


                                                                                                                            joints mimick those of a s   le n. This type specimen book


                                                                                                                                 s you through all the elements of this    nt while


                                                                                                                            sub y examining this rela onship.




                                                                                                                         TELLIT ME
                                                                                                                         WHERE    HURTS
                                                                                                                         TELLIT ME
                                                                                                                         WHERE    HURTS
                                                                                                   TELLIT ME
                                                                                                   WHERE  HURTS          TELL ME
                                                                                                                         WHERE IT HURTS
                                                                                                                         TELL ME
                                                                                                   NEVER
                                                                                                   GO TO A DOCTOR
                                                                                                                                                                  Ripe Bold 125pt



                                                                                                                                                                  Ripe Bold 50pt



                                                                                                   WHOSE OFFICE PLANTS                                             Ripe Bold 38pt




                                                                                                   HA DIED
                                                                                                     VE                                                           Ripe Bold 80pt




Type Specimen Book

much different than our own human skeletal structures. This holds true for the typeface Ripe, a
geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This
type specimen book uses original illustration to take you through all the elements of this font
while subtly examining this relationship.
Jonna Massaroni Portfolio

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Jonna Massaroni Portfolio

  • 1.
  • 3. :60 :60 :60 :60 :60 :60 :60 :60 :60 :60 12 :60 :60 9 3 6 12 :60 :60 9 3 6 :60 :60 :60 :60 :60 :60 :60 :60 :60 ) pa cifi ed :60 03 con ten tm en t ag gra vat ion 2010 % !" "#! $!% ambient &'( pa cifi ed 03 con ten tm en noise t ag gra vat ion 2010 456)-#0%7")'-%8"'0-( ambient noise !"#$%#,4'15-3#',-0%2'$3*1%*D20'1*$%3"*%1*0-3#',$"#2%&*3C**,%,'#$*%-,)%*5'3#',>%73%1*21*$*,3$% *.*1<%,'#$*%"*-1)%4'1%EF%$*A',)$%-3%3"*%3'2%'4%*-A"%"'/1%4'1%3C*0.*%"'/1$>%73%,'3%',0<%1*A'1)$% 3"*%.'0/5*%'4%3"*%,'#$*:%&/3%-0$'%5-(*$%-%A',,*A3#',%3'%-,%*5'3#',-0%1*$2',$*>
  • 4. !"#$%&"'() *%+&,'#&-./+0 4.)("#.$93%&":#0$)#%;<:6%=">" !"#$%#$%-%0'+'%4'1%3"*%!"#$%&"'()*+%,&-'#&*./,0>%!"*%0'+'%#$%-,%-&$31-A3%1*21*$*,3-3#',% '4%3"*%5'/,3-#,%2*-($%#,%3"*%G)#1',)-A($:%A1*-3#,+%-,%*0*+-,3%1*40*A3#',%'4%3"*%$#520* &*-/3<%'4%,-3/1*>
  • 5. !"#$%&"'() *%+&,'#&-./+0 1"+(',#%& !(,#2#,#34 53,-6&2%/23" .%&,'(,-74 -$&'.'&',/ *(+, Adirondack Mountain Club has 25 chapters that offer numerous !"#$%&'() opportunities to get outdoors in the Adirondacks and closer to home. ADK’s Adventure Travel organizes -$&'.'&',/ exciting trips to all parts of the globe. ADK’s Environmental Advocacy 0,&12).(3.," program promotes responsible policies to protect New York’s wild places. We 4()&%$&15/ even offer school programs to instill a love of nature in children. -"'6()"%$7 8(#)&%')143#9 *(+, !"#$%&'() -$&'.'&',/ 0,&12).(3.," 4()&%$&15/ 4.)("#.$93%&":#0$)#%;<:6%;"<<$0-($< !"#$%C*&%$#3*%-,)%#,4'15-3#',-0%&1'A"/1*%4'1%3"*%!"#$%&"'()*+%,&-'#&*./,0%/$*$%&*-/3#4/0% 2"'3'+1-2"<%-,)%A0*-,%0-<'/3%3'%A',.*<%3"*%$#520*%&*-/3<%'4%,-3/1*:%$#5#0-1%3'%3"*%0'+'>
  • 6. e st s ar i art a mi su nd br er ee st d oo d breed 1 i ‘1 aron Mass gn: Desi a pm pm Jonn :00 -7: 00 0 00-7 5 5: 12, 12, ch ch Mar Marc 100 ay, day, day 1 21 Y 12 010 1 2010 Frid NY 8, 8, y, any, any r l n: on: Alba Alb pril ptio ion esi gn t, 2-Ap 12-A ept Desi Des reet ree t, rch rch Rece rt & Rec t e St il 2 Mar Ma ing A Ar tate Apri Statat nin i or , A r O e Open ter fo er 324 324 y, day l, Cent en Hall Hal Fri t Fr i rid ottte irs icot Pico Pic n FFirs pen Ope stand under me at Co Ro se em in t Sho w th Sa Art understand of rad Come g e le l g e der s ar Co e Un ist Th art a them at mi su nd br ee er st The College of Saint Rose d oo d Undergrad Art Show March 12-April 8, 2010 ?#.-(>($.:$0-%@AB)6)0)"#%;"<<$0-($< : Friday, March 12, 5:00-7:00 pm Opening Reception !"#$%#$%-%2'$3*1%-,)%2'$3A-1)%)*$#+,*)%3'%21'5'3*%3"*%H,)*1+1-)/-3*%G13%ID"#&#3#',%-3%!"*% Center for Art & Design J'00*+*%'4%9-#,3%?'$*>%!"*%.#$/-0$:%-0',+%C#3"%3"*%2"1-$*%6-13#$3$%-1*%-%5#$/,)*1$3'')%&1**):;% Picotte Hall, 324 State Street , Albany, NY 12210 Open First Friday, April 2 A'52-1*$%3"*%5#$A',A*23#',$%2*'20*%"-.*%-&'/3%K#3%L/00$%3'%3"'$*%'4%-13#$3$>
  • 8. !"#$%!&'()(!&&&&&&&&&&&&&*+,(-&+%.-!'(%)' !"#$%&'(%)(*"+%",%&' !"#$%&' %())*$++$$ ,-./$ 0&#1"23%!"#$ 4.*$$.%())*$++ 0-.35%4.".$5%6-1%0&)$ %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%7"3%85%9:8: ;$"*%())*$++$$< %% 432 State Street, Suite 230 0&**$+1&2)$2=$%.>".%)$#&2+.*".$+%"2%-2.$?*".$)5%$3$@=".=>-2?%)$+-?2%=&#1/-#$2.+%.>$%1$*+&2%"2)%.>$% =&#1"23%A$>-2)%-.B%,>$%AC+-2$++%+3+.$#5%D>-=>%-2=/C)$+%.>$%/$..$*>$")5%$2E$/&1$5%"2)%AC+-2$++%="*)5% Schenectady, NY 12305 +>&C/)%>"E$%"%=&2+-+.$2.%/&&F%D-.>%*$?"*)%.&%.31&?*"1>35%"/-?2#$2.%"2)%1/"=$#$2.%&' %.>$%/&?&.31$B%,>$% 518.382. 758 1 '&*#".%&' %.>$%+.".-&2$*3%+>&C/)%D&*F%D-.>%"2)%$2>"2=$%.>$%)$+-?2%&' %.>$%#&2&?*"#%/&?&.31$B%G2% )$+-?2-2?%.>$%/$..$*>$")5%.>$%1&+-.-&2%&' %.>$%.31$)%/$..$*%-+%&2$%&' %.>$%#"H&*%)$+-?2%=&2+-)$*".-&2+5%"/&2?% www.esyo.or g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mpire State Youth Orchestras /$..$*%-+%-#1&*."2.%.&%=*$".$%C2-'&*#-.3%"2)%$''-=-$2=3B%PC+-2$++%/$..$*+%C+$%+-2?/$@+1"=$+5%)&CA/$@+1"=$+5% Development/Marketing Specialist &*%#C/.-1/$%)&CA/$@+1"=$+%D>$*$%"11*&1*-".$B% 518.382.7581 % esyoms@esyo.org 4-2=$*$/3, P*$2.%(B%4&/-2" Q&C2)$*5%R*$+-)$2.%"2)%SR%&' %,$=>2&/&?3 T#1-*$%4.".$%U&C.>%V*=>$+.*"+ !'(%)' +,(-&+%.- rey 0 Suite 23 305 %())*$++$ $ y, NY 12 !"#$%&' ,-./$ 3%!"#$ 0&#1"2 $++ 4.*$$.%()* )$ 5%6-1%0& 0-.35%4.".$ Type Specimen Book much different than our own human skeletal structures. This holds true for the typeface Ripe, a geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This type specimen book uses original illustration to take you through all the elements of this font while subtly examining this relationship.
  • 10. {William} CASLON abcdefghijklmnopqrstuvwxyz C aslon is classi ed as an Old Style serif typeface with visual characteristics that include thick, stubby serifs, heavier strokes, and a proportionally larger x-height. Caslon also has a medium to high contrast between thick and thin letter strokes and nally Caslon has a near vertical stress. William Caslon designed the font Caslon as an extremely readable typeface that is often used by magazine and book designers as both a body text font and display font. Caslon is unique because it 1725 was the nal expression of an Old Style font and could almost be regarded as a Transitional face. Caslon can be compared to an umbrella because both are highly functional. Caslon was used in the Declaration of Independence as well as ;$'<"#%IDJ-K$9-%8"'0-( many other important government documents. e utility of these documents !"#$%2'$3*1%*D-5#,*$%3"*%#A',#A%3<2*4-A*%J-$0',>%N#$3'1#A-0%#,4'15-3#',%-,)%'1#+#,-0% can be compared to the use and function 2"'3'+1-2"<%5-(*%-%A',,*A3#',%&*3C**,%3"*%4/,A3#',-0#3<%-,)%$31/A3/1*%'4%J-$0',% of an umbrella. e umbrella also mimicks many of the shapes and letterforms that 0*33*1%4'15$%-,)%-,%/5&1*00-> make up the schematics of Caslon; one letterform in particular is the lowercase “t”.
  •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
  • 12. Rapunzel Rapunzel Please E very year, Americans spend billions of dollars caring for their hair. They lovingly style, color and add extensions to their manes, and may invest in hair replacement procedures and prescriptions to segment of the population suffers from the fear of hair. The fear of Chatophobia. Some people fear hair because they feel it is dirty. Their phobia may be an offshoot of germophobia, the fear of germs. Since hair can carry certain bacteria, and can also be subject to headlice and dandruff, it can be repulsive to many people. ;B$0"JB"6)$%&$>$L)#-%/J(-$. !"#$%$21*-)%.#$/-00<%)*4#,*$%A"-3'2"'&#-:%3"*%4*-1%'4%"-#1>%!"*%'1#+#,-0%7,3-+0#'% #00/$31-3#',%1*.*-0$%?-2/,O*0%*,3-,+0#,+%"*1%21#,A*%C#3"%"*1%)*-)0<%0'A($>
  • 13. Type Specimen Book much different than our own human skeletal structures. This holds true for the typeface Ripe, a geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This type specimen book uses original illustration to take you through all the elements of this font while subtly examining this relationship.
  • 14. W hen you break down a let r rm its most basic components you will find INTRODUCTION a struc re not much different than our own human s le l struc res. This holds true r the typeface Ripe, a geometric, post–modern, slab serif nt whose stro s and joints mimick those of a s le n. This type specimen book s you through all the elements of this nt while sub y examining this rela onship. TELLIT ME WHERE HURTS TELLIT ME WHERE HURTS TELLIT ME WHERE HURTS TELL ME WHERE IT HURTS TELL ME NEVER GO TO A DOCTOR Ripe Bold 125pt Ripe Bold 50pt WHOSE OFFICE PLANTS Ripe Bold 38pt HA DIED VE Ripe Bold 80pt Type Specimen Book much different than our own human skeletal structures. This holds true for the typeface Ripe, a geometric post–modern, slab serif font whose strokes and joints mimick those of a skeleton. This type specimen book uses original illustration to take you through all the elements of this font while subtly examining this relationship.