Portfolio type

OF

N O I T A R O L E P H T EX IN N A E D E S H .

U T S S RT A E SA P Y IC T H F P O RA G

, Y R Y D O G N T S A LO I H GE O N I A S M U ER T

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The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering.

Sans Serif (a.k.a. Gothic or Grotesque) type forms made their first appearances around 1815-1817.

Both are marked by simpler letterforms with (usually) relatively uniform stroke weight, lacking significant contrast, often geometric in underlying design. The term “sans serif” means without a serif.

When your eye craves type that exhibits the inconsistencies of the human hand and the natural wear and tear of age, it’s time to explore distressed typefaces. With their irregular contours and weathered appearance, these designs are a great way to return a natural, hand-made charm to typography.

A cursive font is one that has letters that are connected together like cursive handwriting. Cursive – that is, placing light or white type against fonts are often more decorative than standard fonts a darker background – is a useful way to add with lots of curves and swooshes. emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to “look here” before moving on to the other elements.

In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image.

On 600 ppi laser printers, the hairline rule is effective; however, on high-resolution (2400+ ppi) imagesetters, it can be essentially invisible.

In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, blocklike serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century.

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Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, dip pen, or brush, among other writing instruments.

Type made from wood. Formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical.

A typographic element unsually used to highlight specific lines of text.

Two or more letters comb make a ligature. In typogr represent specific sounds æ diphthong ligature. Oth to make type more attrac the fl and fi ligatures. In m only available in extended expert sets of fonts.

In typography, letter-spaci by typographers, refers to increase (or sometimes de letters to affect density in

Geometric sans-serif typ implies, are based on ge cases letters, such as the geometric forms.

Oblique type is a form of to the right, used for the type. Unlike italic type, h different glyph shapes; it as roman type, except sl

Serifed typefaces were p sans-serif typefaces and details on many of the lett them as feet, although th anatomical term when ref Their are many different c typefaces, often named f Grecian, Latin, Scotch, Sc Style, Spanish Old Style,

bined into one character raphy some ligatures s or words such as the AE or her ligatures are primarily ctive on the page such as most cases, a ligature is characters sets or special

– refers to adjusting the space between characters, especially by placing two characters closer together than normal. Kerning makes certain combinations of letters, such as WA, MW, TA, and VA, look better.

ing, usually called tracking o a consistent degree of ecrease) of space between n a line or block of text.

A swash is a typographical flourish on a glyph, like anexaggeratedserif.Capitalswashcharacters,which extended to the left, were historically often used to begin sentences. There were also minuscule swash characters, which came either extending to the left, to begin words, or to the right to end them. They were used in former times to help fit the text to the line, instead of spaces of varying widths

pefaces, as their name eometric forms. In some lower case ‘o’, are perfect

f type that slants slightly same purposes as italic however, it does not use t uses the same glyphs lanted.

popular much earlier than include semi-structural ters. People often refer to hat is in no way a proper ferring to typography. classifications for serifed for their origins, including cotch Modern, French Old Clarendon and Tuscan.

A

drop cap is the first letter of a paragraph that’s of a much bigger size than the rest that follow. The letter formatting is such that the letter drops down’ to cover the few lines following the first one.

In typography, a glyph is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing and thereby expressing thoughts, ideas and concepts.

A type style that evolved during the eighteenth century, in which characters are based on letterforms now classified as old style yet also contain features suggesting the modern typeface style that followed. Such typefaces usually have a more distinct difference in weight between thick and thin strokes than old-style typefaces, a vertical or near vertical curve stress, and flat (uncupped) bracketed serifs (examples: ITC and Monotype Baskerville, Monotype Perpetua, Century Schoolbook).

Many serif contemporary typefaces that incorporate features of different styles fall into this classification.

A typeface intended for typesetting at larger sizes, usually 14 points and above, or sometimes above 14 points, depending on the type designer or manufacturer. In comparison with a text version of the same typeface, a display version generally has a slightly smaller x-height, narrower proportions, more contrast between the thicknesses of main strokes and thin strokes, and finer details.

Handlettering is the art of drawing letters to create an aesthetically interesting design by hand.

A geometric line used as graphic enhancement in page assembly-the term is used to distinguish ruling lines from lines of type

Decorative symbols and characters that are generally not included in a typeface font or character set, including boxes, bullets, arrows, pointers, and other characters. Often made up into their own font, such as the ITC Zapf Dingbats.

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LOGO DESIGN

MUSEUM OF MODERN

YPE

GRAPHIC DESIGNER

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Wood type answered some of the needs of display advertising during the industrial revolution. It derives its name from the fact that instead of being made of metal, the type is carved from wood, cut perpendicular to the grain. It is distinguished by strong contrasts, an overall dark color, and a lack of fine lines. It may be unusually compressed or extended. Many wood types have an ``Old West'' feel, because they are most strongly associated with America in the 1870-1900 period. Some of the wood types most widely available today are those in an Adobe pantheon released in 1990, which includes Cottonwood, Ironwood and Juniper (Buker, Lind & Redick).

As any Scrabble player will tell you, ‘e’ has always been an important letter in our alphabet, used more often than any other. In the Internet age, however, ‘e’ has achieved near-ubiquitous popularity, since it can be tacked on at will on to almost any other word to imply the white heat of the technological revolution. Terms like e-business, e-zine, e-cash, e-text and e-book are now part of the daily language of many of us.

The forerunner of these compounds is the comparatively venerable e-mail, first recorded as a noun in 1982 and as a verb in 1987. At first, the e- was just a convenient abbreviation for electronic. E-mail gained wider currency from the early nineties onwards, but many new users of the term were uncertain whether the initial letter was an abbreviation or a prefix, and whether the word should be written with a hyphen or not.

Hence the alternative forms E-mail, Email, and email.

CHARACTER STUDY | THE LETTER A

No one knows why ‘A’ is the first letter of our alphabet.

Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.)

No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.

Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.

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EVOLUTION OF AN A

Didot

The Didot family were active as designers about 100as years The Didot familyfor were active in thefor 18th and100 19thyears centuries. designers about They were printers, publishers, in the 18th and 19th centuries. typeface designers, inventors They were printers, publishers, and intellectuals. Around 1800 typeface designers, inventors the Didot family owned the most and intellectuals. Around 1800 important print shop and font the Didot family owned the most foundry in France. Pierre Didot, important print shop and font the printer, published a document foundry in France.

Pierre Didot, with the typefaces of his brother, the printer, document Firminpublished Didot, theatypeface with the typefaces his brother, designer.

Theof strong clear forms FirminofDidot, the typeface this alphabet display objective, designer.

The characteristics strong clear forms rational and are of thisrepresentative alphabet display objective, of the time and rational characteristics are philosophy of the and Enlightenment. representative of the time and Adrian Frutiger’s Didot is a sensitive philosophy of the Enlightenment. interpretation of the French Modern Didot.Didot Another for this AdrianFace Frutiger’s is amodel sensitive design isofthe an historical interpretation theHenriade, French Modern printing of the original Didot Face Didot.

Another model for thisfrom font Didot text a design1818. is theThe Henriade, an gives historical classic and elegant feel. printing of the original Didot from 1818. The font Didot gives text a classic and elegant feel.

CHARACTER STUDY | THE LETTER Z

The twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet. They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning.

Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didnʼt bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface).

The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the Romans conquered the Greeks. In order to write these words a Z was required, and so, several centuries after it was first banished from the Roman alphabet, the Z was allowed to return.

However, because the letter was not a part of the traditional Roman language, the Z was relegated to the last spot in the alphabetical hierarchy.

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EVOLUTION OF Z

Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner’s design rejected the approach of previous sans-serif designs (now often called grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of neareven weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line, and uses a single-story ‘a’ and ‘g,’ previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical Roman capitals.

CHARACTER STUDY | THE LETTER G

Generally speaking, there are no launch dates for the letters of our alphabet. For the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C. Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”).

They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upside-down V looked like the hump of a camel.

The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At various times in ancient Greek history, the gamma looked like a one-sided arrow pointing up, an upside-down L, or a crescent moon. Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians.

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The Century was a popular American magazine around the end of the 19th century. Its publisher, Theodore De Vinne, commissioned a new typeface for the magazine from his friend Linn Boyd Benton.

The problem with the popular typefaces of the time, which were heavily influenced by Bodoni’s work, was that when the larger fonts were reduced in size for the magazine, their already thin lines became faint, rendering the text hard to read.

The Century typeface was successfully introduced in the magazine’s pages in late 1895.

Benton’s son, Morris Fuller Benton, continued work on the typeface to bring it into line with the standards of the International Typographers Union.

The new typeface, named Century Expanded, addressed the concern that original Century design was too condensed, and immediately became so popular that the original Century design was soon retired. The younger Benton then developed additional designs within the Century Expanded typeface, pioneering the concept of typeface families and making Century Expanded the first “superfamily”.

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10250 Santa Monica Blvd.

Los Angeles,CA 90020 dmitri.walker@grahphics.com

10250 Santa Monica Blvd.

Los Angeles,CA 90020

10250 Santa Monica Blvd.

Los Angeles,CA 90020 dmitri.walker@grahphics.com

dmitri.walker@grahphics.com

The presenc both good a seen everyw

Written & Phot dmitri Walker

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ypography 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 manuscripts, inscriptions and old books, but from others it is largely hidden.

This book has therefore grown into something more than a short manual of typographic 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, and free to become more different still, how can one honestly write a rulebook? What reason and authority 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 determined to forge new routes must move, like other solitary traveler, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn. The subject of this book is not typographic solitude, but the old, well traveled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose if only we know the paths are there and have a sense of where they lead. That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is per cisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist.

Letterforms change constantly, yet differ very little, because they are alive. The principles

ce of typography and bad, can be where.

otograPhed by

of typographic clarity have also scarcely and ants, for example, read and write by altered since the second half of the fifteenth more chemical means. But the underlying century, when the first books were printed in principles of typography are, at any rate, roman type. Indeed, most of the principles stable enough to weather any number of of legibility and design explored in this book human fashions and fads. were known and used by Egyptian scribes Typography is the craft of endowing human writing hieratic script with reed pens on language with a durable visual form, and thus papyrus in 1000 B.C. Samples of their work with an independent existence. Its heartwood sit now in museums in Cairo, London and is calligraphy - the dance, on a tiny stage, of New York, still It is true that lively, subtle, typographer’s and perfectly tools are “Typography is the legible thirty presently craft of endowing centuries after changing with they were considerable human language made. force and with a durable visual speed, but this Writing systems vary, is not a manual form, and thus with but a good in the use of an independent page is not any particular hard to learn typesetting existence.” to recognize, system or whether medium. I it comes from Tang Dynasty China, The suppose that most readers of this book will Egyptian New Kingdom typographers set set most of their type in digital form, using for themselves than with the mutable or computers, but I have no preconceptions Renaissance Italy. The principles that unite about which brands of computers, or which these distant schools of design are based versions of which proprietary software, they on the structure and scale of the human may use. The essential elements of style body the eye, the hand, and the forearm in have more to do with the goals the living, particular and on the invisible but no less speaking hand and its roots reach into living real, no less demanding, no less sensuous soil, though its branches may be hung each anatomy of the human mind. I don’t like to year with new machines. So long as the root call these principles universals, because lives, typography remains a source of true they are largely unique to our species. Dogs delight, true knowledge, true surprise.

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221 S GRAND AVE, LOS ANGELES, CA 90012 www.MMT.com

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CONTENTS

4

PURPOSE OF STYLE

5 6

GUIDELINES IDENTITY

7

CORPORATE COLOR

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LOGO APPLICATION

THE PURPOSE OF STYLE GUIDE

Our diverse, unique collection, gifted by Bob and Hertha Rockwell, serves as the base of our work, and provides inspiration for our innovative programs.

Our mission is to use our collection to stimulate and engage our visitors, both within the Museum and within the greater Corning community. This style guide, or manual of style, is a set of standards for the writing and design of documents, either for The Museum of Modern Type. This style guide establishes and enforces style to improve communication.

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CORPORATE TYPEFACE

PRIMARY TYPEFACE GUIDELINES

Impact is the primary font used for the logotype. It can also be used as the standard when stronger emphasis is needed, such as in: stationery, website design, brochures and all forms of general correspondance.

BEST USED FOR HEADLINES, TITLING AND LARGE

This font is not to be used body copy, long quote, contact info, or tagline.

IMPACT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789(.,;:“‘?/#$@%&!*)

Body Copy 10 pt. Gotham Regular U&LC 10 on 12 flrr

CORPORATE COLOR

Color Specifications Red is an essential part of our brand RGB

CMYK

HEX

196 / 32 / 54

16 / 100 / 84 / 6

#C32035

indentity and heritage. Combined white, black and dark grey we maintain our modern aesthetic making the logo simple to use and powerful.

Color Application

RGB

CMYK

HEX

151 / 18 / 28

25 / 100 / 99 / 25

#971210

RGB

CMYK

HEX

80 / 87 / 92

68 / 56 / 51 / 28

#50575C

RGB

CMYK

HEX

38 / 45 / 51

78 / 67 / 58 / 60

#262D35

RGB

CMYK

HEX

4 / 8 / 12

77 / 68 / 65 / 85

#0408OC

LOGO APPLICATION

ABOUT MUSEUM

Our diverse, unique collection, gifted by Bob and Hertha Rockwell, serves as the base of our work, and provides inspiration for our innovative programs. Our mission is to use our collection to stimulate and engage our visitors, both within the Museum and within the greater Corning community.

Housed in Corning’s Old City Hall, we have a strong presence in the local community. The Rockwell hosts activities for people of all ages and interests, from innovative arts education for children and their parents, to exceptional lectures by leading scholars.

We provide our visitors with the opportunity to experience the history that lies at the heart of Corning, view world-class fine art, attend classes or programs, or simply relax, reflect, and shop.

As a hallmark of the Corning community, we offer an experience that is distinctly unique to the area. Visitors to The Rockwell experience the people, land and ideas that shaped America, all in a relaxed, intimate and accessible environment.

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pop! visual project issue one volume seven

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larry rivers

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