Typography 3 Portfolio

Typography 3 Portfolio
Ashley Ludlow
Fall 2015
Daniel A. Reed Library
A Student Guide
Services
Research Assitance
Help can be found at the reference desk,
by individual research apponitments, with
librarians, by phone and by email.
Ask A Librararian
Through the Ask Us 24/7 service,
students can live chat with a librarian 24
hours a day, 7 days a week
Extended Hours
Reed Library is open extended hours
suring the last two weeks of the semester.
For hours of operation visit www.
fredonia.edu/library/about/hours
Online Literary Resources
Students can access a majority of Reed
Library’s collections and services from
both on and off campus through the
library’s website www.fredonia.edu/
library
Facilities
First Floor
»» Computer lab with color and
black & white printers, scanners,
and photocopiers
»» Individual or group
study spaces
»» Registrars office
Second & Third Floors
Find quiet study areas on these floors
in the Carnahan-Jackson Wing
Fourth Floor
The Learning Center
Resources
Reference Collections
Our reference collections include
general as well as subject-specific print
and eBook research tools, including
indexes, handbooks, dictionaries,
bibliographies, and directories.
Subject Guides
Subject Guides gather the best books,
journals, databases, websites, and more
by area of study.
The library’s collections include more
than 430,000 books, 24,000 magazines
and journals (both print and online),
and 15,000 other multimedia items.
Leisure Resources
Music, DVD, graphic novel and lesisure
reading collections are available
Interlibrary Loan
Students have access to library items
worldwide through Interlibrary Loan.
Library Workshops
Library workshops are available on a
weekly basis.
For online library services, library
map, databases, collections, and
hours of operation visit
www.fredonia.edu/library
Questions?
Use our 24/7 Ask A Librarian Service available
on the library website
Fall 2015 Hours
Monday – Thursday
7:30 am – 1 am
Friday
7:30am – 8 pm
Saturday
12 pm – 8 pm
Sunday
12 pm – 1 am
The mission of Reed Library is to provide quality
services and to collect, organize, disseminate, tech,
and facilitate access to information in support of the
curricular needs of Fredonia’s students and faculty, as
well as the intellectual needs of the broader Fredonia
community.
Reed Library Hours
Reed Library Hours
Fall Semester 2015
Fall Semester 2015
Monday
Tuesday
Wednesday Thursday
Friday
Saturday
Sunday
Monday
Tuesday
Wednesday Thursday
Friday
Saturday
Sunday
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
12 pm
Open
12 pm
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
12 pm
Open
12 pm
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
8:00 pm
Close
8:00 pm
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
8:00 pm
Close
8:00 pm
Close
1:00 am
Closings
Special Hours
Closings
Special Hours
Sunday Aug 23
Sunday Sept 6
Monday Sept 7
Saturday Oct 10
Sunday Oct 11
Saturday Nov 21
Fall Break: Oct 7 – Oct 9
Sunday Aug 23
Sunday Sept 6
Monday Sept 7
Saturday Oct 10
Sunday Oct 11
Saturday Nov 21
Fall Break: Oct 7 – Oct 9
Open
7:30 am
Close
4:30 pm
Reed Library Hours
Reed Library Hours
Fall Semester 2015
Monday
Tuesday
Open
7:30 am
Close
4:30 pm
Fall Semester 2015
Wednesday Thursday
Friday
Saturday
Sunday
Monday
Tuesday
Wednesday Thursday
Friday
Saturday
Sunday
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
12 pm
Open
12 pm
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
7:30 am
Open
12 pm
Open
12 pm
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
8:00 pm
Close
8:00 pm
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
1:00 am
Close
8:00 pm
Close
8:00 pm
Close
1:00 am
Closings
Special Hours
Closings
Special Hours
Sunday Aug 23
Sunday Sept 6
Monday Sept 7
Saturday Oct 10
Sunday Oct 11
Saturday Nov 21
Fall Break: Oct 7 – Oct 9
Sunday Aug 23
Sunday Sept 6
Monday Sept 7
Saturday Oct 10
Sunday Oct 11
Saturday Nov 21
Fall Break: Oct 7 – Oct 9
Open
7:30 am
Close
4:30 pm
Open
7:30 am
Close
4:30 pm
A Guide to Finding a Library Book
Daniel A. Reed Library
So you’ve found the call number of a book ... What’s next?
1. Every call number begins with a letter.
The letter corressponds with a subject of literature based on
the Library of Congress. This guide helps you browse by subject:
A – General Works
K – Law
B – Philosophy, Psychology, L – Education
Religion
M – Music and Books
C – Auxiliary Sciences of History
N – Fine Arts
D – World History and History of
P – Language and Literature
Europe, Asia, Africa, Australia,
Q – Science
New Zealand, Etc.
R – Medicine
E – History of the Americas
S – Agriculture
F – History of the Americas
T – Technology
G – Geography, Anthropology,
U – Military Science
Recreation
H – Social Sciences
J – Political Science
V – Naval Science
Z – Bibliography, Library Science,
Information Resources(General)
2. The next set of information gives you
the specific location of a book on a shelf.
The letter corressponds with a subject of literature
based on the Library of Congress
N
5498
.C65
1991
Refers to the general subject of the literature
Read this as a location number - as a whole #
Read this number in order as a decimal
This number refers to the date of publication
Nuremburg Daily
MYSTERIOUS
NUREMBURG VISITOR
STABBED BY MAN IN
COURT GARDEN
by Walter Benjamin
eatUt volupta prepel ilique nis
sunt ut veribus, ut diatem que
velignimus aut ab iduciam ne am
ex exerciendis eum re ducient harum es eos ea est veliquae sequiae
atem eturemp erovid quatia inus
dolupta temque vent resequi verro teseceaquis si occusam repero
beatur, soluptia qui blautatus que
nisimus sed ut iditaturios mod et
quiaspitatur ab impostia dolo de
necustia nest quodit a dolorem
oditibus.
On conserit aut volupti ssincit
parum dendis et aute doluptasit
faceriam, optatia spernam illaceptate voluptatur alibus rest que re
de doluptatiur, coribus cum quidia nemporrorum qui rerum aped
essimet molorent fugiatem laceaqui blatiun temperf ereped unt
lam secerum denis aut fugia et,
nonserum idit quia dollame enihici endus.
Obit exerum liquid que voluptas
eicab imin nat unt iuntoribeati
ut utes as accatate vel inctemp
orrorio. Simoluptati corro venimo voluptaHici cuscitas vid es
modipsanitat volutem quidendaes
resti rerendi int acia cus sit eos
ut velecte mperro ipsae sedipsam
facest ad ullacid ionsequo corepedis adis dolum fuga. Musam
essit laut eum alitatum aliquis
sinulpa rciendae officte porum del
mod erum quid que sitae. Luptae
laciae eum que parcipsae nimus
repro maximus id et qui consequ
aecaboriam soles nis rem ea di
commodicit, net vendit di officip
sapelle ctorem arupta expero in
natiore ptatinveris eruptati odit,
iusdaernam fuga. Alit dolumquam, ni atqui quiae doluptate
poressimus, sam quamus ut is
dolest reprae plia ist facilique
nis mo quam asperum quuntias
Susan Sontag
ON PHOTOGRAPHY
Like guns and cars, cameras are
fantasy-machines whose use is
addictive. However, they are not
lethal. In the hyperbole that
markets cars like guns, there is
at least this much truth: except in
wartime, cars kill more people than
guns do. The camera/gun does
not kill, so the ominous metaphor
seems to be all bluff—like a man’s
fantasy of having a gun, knife, or
tool between his legs. Still, there is
something predatory in the act of
taking a picture. It turns people into
objects that can be symbolically
possessed. Just as the camera is
a sublimation of the gun, to
photograph someone is a sublimated murder—a soft murder, appropriate to a sad, frightened time.
Eventually, people
might learn to act out
more of their aggressions
with cameras and fewer
with guns, with the price
being an even more
image-choked world.
“
I always thought of
photography as a
naughty thing
to do – that was
one of my favorite
things about it and
when I first did it I
felt very perverse.
46
Being a professional photographer can
be thought of as naughty, to use Arbus’s
pop word, if the photographer seeks out
subjects considered to be disreputable,
taboo, marginal. But naughty subjects
are harder to find these days. And
what exactly is the perverse aspect of
picture-taking? If professional photographers often have sexual fantasies when
they are behind the camera, perhaps the
perversion lies in the fact that these
fantasies are both plausible and so
inappropriate. In Blowup (1966), Antonioni
has the fashion photographer hovering convulsively over Veruschka’s body
with his camera clicking. Naughtiness,
indeed! In fact, using a camera is not a
very good way of getting at someone
sexually. Between photographer and
subject, there has to be distance. The
camera doesn’t rape, or even possess,
though it may presume, intrude, trespass, distort, exploit, and, at the farthest
reach of metaphor, assassinate—all
”
activities that, unlike the sexual push
and shove, can be conducted from a
distance, and with some detachment.
There is a much stronger sexual fantasy
in Michael Powell’s extraordinary movie
Peeping Tom (1960), which is not about
a Peeping Tom but about a psychopath
who kills women with a weapon
concealed in his camera, while photographing them. Not once does he touch
his subjects. He doesn’t desire their
bodies; he wants their presence in the
form of filmed images—those showing
them experiencing their own death—
which he screens at home for his
solitary pleasure. The movie assumes
connections between impotence and
aggression, professionalized looking and
cruelty, which point to the central fantasy
connected with the camera. The camera
as phallus is, at most, a flimsy variant of
the inescapable metaphor that everyone
unselfconsciously employs. However
hazy our awareness of this fantasy, it is
named without subtlety whenever we talk
about “loading” and “aiming” a camera,
about “shooting” a film.
The old-fashioned camera was clumsier
and harder to reload than a brown
Bess musket. The modern camera is
trying to be a ray gun. One ad reads:
The Yashica Electro-35 GT is the
spaceage camera your family will love.
Take beautiful pictures day or night.
Automatically. Without any nonsense.
Just aim, focus and shoot. The GT’s
computer brain and electronic shutter
will do the rest.
Like a car, a camera is sold as a predatory
weapon—one that’s as automated as
possible, ready to spring. Popular taste
expects an easy, an invisible technology.
Manufacturers reassure their customers
that taking pictures demands no skill or
expert knowledge, that the machine is
all-knowing, and responds to the slightest
pressure of the will. It’s as simple as turning the ignition key or pulling the trigger.
Like guns and cars, cameras are fantasymachines whose use is addictive. However,
despite the extravagances of ordinary
language and advertising, they are not
lethal. In the hyperbole that markets cars
like guns, there is at least this much truth:
except in wartime, cars kill more people
than guns do. The camera/gun does not
kill, so the ominous metaphor seems to be
all bluff—like a man’s fantasy of having a
gun, knife, or tool between his legs. Still,
there is something predatory in the act of
taking a picture. To photograph people is to
violate them, by seeing them as they never
see themselves, by having knowledge of
them they can never have; it turns people
into objects that can be symbolically
possessed. Just as the camera is a sublimation of the gun, to photograph someone
is a sublimated murder—a soft murder,
appropriate to a sad, frightened time.
47
R
A
ASPAR HAUSER KASPAR
P
K
R
S
E
S
U
A
A
H
R
K
A
P
S
A
A
R
K
R
K
AUSER
KASPAR
HAUSER
E
E
US
S
S
U
R
A
R
H
E
U
R
A
P
A
S
A
S
R
A
K
A
U
H
R
P
P
E
S
S
A
U
R
HAUSER
KASPAR
HAU
A
A
R
S
S
S
H
K
H
R S PA
A
P
R
U
S
A
A
E
A
R
K
A
S
R
E
U
A
K
K
S
H
A
U
A
A
P
A
H
H
K
R
S
K
R
A
R
R
KASPAR
HAUSER
KASP
P
R
A
E
E
S
KKAAS
K
S
SEPR K A U SAERARSHH
R
A
P
R
U
A
E
S
A
P
S
A
U
K
A
P
S
U
S
R
A
P
A
K
S
U
A
S
E
A
A
A
K
K
AUSER
KASPAR
HAUSER
S
S
R
S
R
S
E
U
K
A
A
SS E R KHS E ERH SAUEARHRR
U
U
U
S
A
A
U
A
A
H
H
R
H
R
A
R
R
U
R
P
H
A
S
S
A
S
A
P
P
E
U
ARRUH
R
A
K
R
U
A
S
A
R
R
AP
S UHAU
E
A
S
A
H
S
HAUSER
KASPAR
A
A
A
U
K
P
K
A
P
A
H
P
H
P
S
R
R
P
K
A
A
E
S
A
R
P
S
S
S
P
S
R
S
A
R
A
A
E
A
S
H
U
K
R
S
A
A
A
A
PAKKASPAR
R
A
A
E
S
E
K
K
S
K
K
H
K
P
U
P
R
A
A
A
U
S
R
K
R
H
R
S
E
S
A
R
R
HAUSER
A KASP
U
H
A
S
K
E
P
R
R
E
A
A
P
S
U
H
A
A
S
R
A
KR EK KAAERUR
S H
R
E
S
E
R
U R HS A R APU
E
K
A
A
S
S
A
R
H
K
E
S
P
E
PA
R
H PPA
A
S
S
S
H
U
U
S
U
A
S
S
R
S
U
AUSER
KASPAR
HAUSER
A
R
A
K
K
A
A
E
A
S
H
R
A
U
A
R
E
K
R
K
A PR
K
H
AAU SAHUAS KP A
H
A
U
A
K
H
R
S
R
E
R
E A SRP A E
R
R
U
S
H
S
A
E
K
S
R
H
R
A
U
RR
HAUSER
KASPAR
HAU
A
E
U
E
R
S
R
S
U
U
A
A
A
A
P
P
U
H
A
A
S
P
H
H
AH
S
P
S
S
S
U
H
A
A
PKASPAR
K
R
K
R
A
A
E
A
R
R
S
A
U
E
H
A
A
P
P
S
H
HAUSER
KASP
K
K
S
R
U
A
P
R
A
P
A
K
H KEARS
A
KRRA S
R
RPEA
R
P
E
E
S
S
U
R
S
A
U
H
A
A
S
R
A
H
R
P
AUSER
KASPAR
HAUSER
P
S
K
A
R
E
U
K
A
S
R
E
P
R
S
A
A
S
AEU
E
U
A
A
K
H
K
H
S
R
A
P
R
U
S
A
K
E
R RHAUSER
KASPAR
HAU
A
R
E
S
S
H
AR HAU HAU SER K ASP
U
KASPAR
HAUSER
KASP
R
A
H
R
A
A
PP
R K AS
Tales of Kaspar Hauser
Walter Benjamin
Youth Hour
WAR WAR WAR WAR WAR W
WAR WAR WAR WAR WAR W
WAR WAR WAR WAR WAR W
WAR WAR
WAR
WAR
WAR
W
peace
victory
WAR WAR WAR WAR WAR W
WAR WAR WAR WAR WAR W
WAR WAR WAR WAR WAR W
WAR WAR WAR WAR WAR W
WAR WAR WAR WAR WAR W
without it, language loses value.
no rights reserved. no choice.
ATTENTION
TYPEFACE DESIGNERS
ARTISTRY IN DISTRESS
ALTHOUGH GOOD TYPEFACE DESIGNS CAN TAKE
YEARS TO DESIGN AND REQUIRE A SOPHISTICATION
IN CREATING CHARACTER AND PERSONALITY THAT
LOOKS AND APPROPRIATE IN CONTENT AND STYLE
TYPEFACE DESIGNS ARE NOT PROTECTED UNDER
COPYRIGHT LAWS.
PROTECT TYPEFACES
LEGALIZE TYPEFACE COPYRIGHT LAWS
ms.
ms.
BEA