Portfolio Samples by Kristie Huey

KRISTIE HUEY rhode island school of design graphic design 2012

CONTENTS the 500 audio breeds visual lost in translation bodoni poster eight squares type compositions illuminated text subtle emigre letterforms cocoa bar wine poster

THE 500 The 500 is composed of 500 drawings investigating 500 different ways to convey the image of two simple objects while exploring the themes of anomaly, balance, contrast, rhythm and texture. A set of five books contained in a hand-made slip case were created to document the results of this exploration. 6 x 6 in

500

anomaly

balance

contrast

rhythm

texture

THE 500

AUDIO BREEDS VISUAL Numerous collages using images were created in response to listening to five audio clips from the Fluxus movement. Text of the song name and artist were then integrated to combine image and text as one.

These collages were combined to create a visual narrative. A double-sided accordion book composing of ten images on each side was created to display this narrative. 10 x 10 in

AUDIO BREEDS VISUAL

LOST IN TRANSLATION With the given object, a nail, explore the many different forms of graphic translation using any medium and means of expression. Three primary points to consider are understanding the object, exploring the possibilities of form, and consider the phenomena of translation and transformation and between form and communications.

LOST IN TRANSLATION

BODONI POSTER

WHAT IS BODONI?

Create a poster to capture the essence of the bodoni typeface. This poster illustrates the dramatic thicks and thins as well as the curves that exist in bodoni letterforms. Black Gouache, 24 x 36 in

Bodoni is a modern typeface designed by Giambattista Bodoni (1740-1813), an Italian engraver, publisher and typographer. As the private printer to the Duke of Parma, Bodoni produced over a hundred typefaces and perfected the production of mechanical type. Bodoni admired the ideas and work of John Baskerville, whose influence is present in this typeface. The letterforms exhibit a dramatic contrast between thick and thin strokes and flat crisp thin serifs with very slight bracketing. They have a strong vertical stress, and are slightly condensed or narrow. Ascenders and descenders

Bodoni

are more exaggerated than old style typefaces. Bodoni has an overall geometric construction, with a clean and sharp appearance. A similar typeface designed during the same time was Didot. These modern typefaces represented a new vision of typography independent from calligraphy. The extreme contrast in stroke weight and hairline serifs can make Bodoni difficult to read. However, if used well Bodoni is elegant and sophisticated. It should be set large enough and with sufficient spacing so as not to compromise legibility.

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BODONI POSTER

EIGHT BOXES

Didot Univers

Didot

Using one serif typeface and one sans serif typeface, create a grid of eight boxes displaying the distinguishing characteristics of the typefaces and the forms they are comprised of. Work with form and counterform to create an interesting composition.

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Univers

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EIGHT BOXES

TYPE COMPOSITIONS Experiment with color creating 4 color palettes: grayscale, inspired color of choice, subtle color and extreme, saturated color.

Create a set of three compositions using text found in magazines and newspapers. Each composition should show a clear sense of hierarchy.

TYPE COMPOSITIONS

ILLUMINATED TEXT Illuminated Text is an alphabet book displaying each letter of the alphabet in the form of a shadow. This hand sewn book measures 5x5 inches.

All shadows were found in 15 West room 713B. These letters are as elusive as the shadows they hide behind.

ILLUMINATED TEXT

SUBTLE A final research project investigating a given word: subtle. Research included all aspects of what the meaning of subtle is and eludes to through text, image, sound, taste, and touch. People were also asked to provide personal accounts on subtle experiences.

A collection of subtle moments was the final result of this investigation. This collection incorporates image and text. Images were taken of white objects in a white background. A handsewn pamphlet book was the final product of this exploration. 5 x 8 in

sample text

I was doing hw in the lounge, and this guy walks in, and he looks at me. And I’ve seen him before and we like usually smile at each other, and he seems nice. So he just stops short and looks at me and makes this really strange face, like Oh, you’re working in the lounge...What do I do...and I guess he’s contemplating what to do. And I said something like he could work there too and that I’d move over. So he did, and I did, move over that is. And we just sit there on the two ends of the green lounge couch doing homework. And I’m thinking, this is really nice. Even though I don’t know him, it’s like being in a comfortable silence with a stranger who is sharing time with you and you both appreciate that no one is talking.

SUBTLE

EMIGRE This poster was designed to visualize a 500 word essay written about a given topic, Emigre Magazine, and its contribution or significance to graphic design.

1984 - 2005

Kristie Huey Lauren Francesconi RISD 2012 Emigre No. 70 The End No. 69 From Merz to Emigre and

A French literary term, émigré, refers to a historical context in which a person has migrated away for political reasons. With its publication from 1984 – 2005, Émigré magazine was a visual collection that sought to break the boundaries of tradition design and redefine the meaning of communication. Founded by Rudy VanderLans and Zuzana Licko, Émigré magazine embraced the new technological advancement of the first Macintosh computer and its default typefaces that would reshape the direction of design. Zuzano Licko quickly took advantage of the computer to serve her curiosity of bitmap fonts and in time, began producing a number of new digital typefaces. This magazine was unlike other publications of its time. Originating as a journal to display the work of designers Emigre evolved into a journal that bridged the gap between design and literature. Through essays, writings, interviews, and poetry, Émigré explores the meaning and purpose of design. VanderLans took careful consideration in what Émigré published. He often displayed the work of designers despite their being rejected by other publications; it was the process, concept and direction that he was solely interested in. The format of Émigré was never pre-determined and was constantly changing depending on the content it contained. It was first printed quarterly in a large issue measuring 285x425mm and later transformed with Issue #33 to a text friendlier page size of 8.5x11in. Later with Issue #60, its formed altered to a multi-media booklet measuring 133x210mm and contained either a CD or DVD. With its later editions beginning with Issue #65, it was published semiannually as a book while still retaining the same page size as before. In addition to its overall changing form as a whole, its page designs were always different and often demonstrated the new digital design aesthetic. Emigre’s distinct layouts rebelled against old rules of the past and explores with new standards. VanderLans played with organic grid structures influenced by the page content and in doing so, each issue constantly kept recreating the visual appearance of the magazine. Often criticized by designers as being garbage and lacking sophistication, Émigré was also praised by others. A dynamic dialogue between designers was established through the literature published. Some critics claim that the writing becomes drawn out creating a never-ending conversation. Although this is true, the conversation characterizes the nature of design that constantly changes back and forth. VanderLans treasured authenticity and believed that an interview with a designer must remain as honest truth. In order to maintain truth, he allowed designers to review the publication prior to printing. Design is seen as a form of image and text. Émigré was composed of content that was relative and meaningful. It must represent an idea. Some literature became abstract when analyzing design theory and criticism that led certain readers to view Émigré with a visual standpoint. Émigré required readers to value wisdom and intellect in analyzing design while remaining open to new approaches and possibilities. Visual aspects of design can’t simply utilize the same, neutral traditions that some designers believed in. Émigré was a visual representation of the culture. It pushed design to have a personal relationship with the reader communicating that design reflects the world and lifestyle that society lives by. Through exploration and interaction, it documents the path of Graphic Design as something that is spontaneous and free from boundaries. Design itself was redefined as visual information with a physical form of image and text. While literature requires design to communicate, design also requires literature to become understandable. Designers were made aware that they must become literate through literature to fully comprehend the inner-workings of design. Design is communication: communicating image and text.

Combining text and image as one, this poster seeks to convey the concept of visual communication. It seeks to break the formal rules of design in the process of visualizing information. 8.5 x 22in

A French literary term, émigré, refers to a historical context in which a person has migrated away for political reasons. With its publication from 1984 – 2005, Emigre magazine was a visual collection that sought to break break break break break the boundaries of tradition design and redefine the meaning of communication. Kristie Huey Founded by Lauren Francesconi Rudy VanderLans and Zuzana Licko, Emigre RISD 2012 magazine embraced Emigre No. 70 the The End new No. 69 technological From advancement Merz of to Emigre the and first Beyond Macintosh computer and its default typefaces that would reshape the direction of design. Zuzano Licko quickly took advantage of the computer to serve her curiosity of bitmap fonts and in time, began producing a number of new digital typefaces. This magazine was unlike other publications of its time. Originating as a journal to display the work of designers Emigre evolved into a journal that bridged the gap between and literature. Through essays, writings, interviews, and poetry, Emigre explores and purpose of design. the meaning

1984 - 2005

VanderLans took careful consideration in what Emigre published. He often displayed the work of designers despite it was therejected process, concept and their being by other publications; that he was solely interested in. The format of Emigre was never pre-determined and was constantly changing depending

initial sketches

direction

on the content it contained. its page designs were always different and often demonstrated the new digital design aesthetic. Emigre’s distinct layouts rebelled against old rules of the past and explores with new standards. VanderLans played with organic grid structures influenced by the page content and in doing so, each issue constantly kept recreating the visual appearance of the magazine. Often criticized by designers as being garbage and lacking sophistication, Emigre was also praised by others. A dynamic dialogue between designers was established through the literature published. Some critics claim that the writing becomes drawn out creating a never-ending conversation. Although this is true, the conversation characterizes the nature of design that constantly changes back and forth. VanderLans treasured authenticity and believed that an interview with a designer must remain as honest truth honest truth honest truth. In order to maintain truth, he allowed designers to review the publication prior to printing. is seen as a form of image and text. Emigre was composed of contentDesign that was relative and meaningful. It must represent an idea. Some literature became abstract when analyzing design theory and criticism that led certain readers to view Émigré with a visual standpoint. Emigre required readers to value wisdom and intellect in analyzing design while remaining open to new approaches and possibilities. Visual aspects of design can’t simply utilize the same, neutral traditions that some designers believed in. Emigre was a visual representation of the culture. It pushed design to have a personal relationship with the reader communicating that design reflects the world and lifestyle that society lives by. Through exploration and interaction, it documents the path of Graphic Design as something that is spontaneous and free from boundaries. Design itself was redefined as visual information with a physical form of image and text. While literature requires design to communicate, design also requires literature to become understandable. Designers were made aware that they must become literate through literature to fully comprehend the inner-workings of design. Design is communication: communicating image and text.

reshape the direction of design.

This magazine was unlike other publications of its time. Originating as a journal to display the work of designers Emigre evolved into a journal that

bridged the gap between design and literature. Through essays, writings, interviews, and poetry, Emigre explores the meaning and purpose of design. VanderLans took careful consideration in what Émigré published. He often displayed the work of designers despite their being rejected by other publications; it was the process,

concept and direction that he was solely interested in.

Emigre’s distinct layouts

rebelled against old rules of the past and explores with new standards.

VanderLans played with organic grid structures influenced by the page content and in doing so, each issue constantly kept recreating the visual appearance of the magazine. Often criticized by designers as being garbage and lacking sophistication, Emigre was also praised by others. A

dynamic dialogue between designers was established through the literature published. Some critics claim that the writing becomes drawn out creating a never-ending never-ending never-ending never-ending never-ending neverending conversation... Although this is true, the conversation characterizes the nature of design that constantly changes back and forth and forth and back and back and forth and forth and back. VanderLans treasured

authenticity

and believed that an interview with a designer must remain as honest truth. In order to maintain truth, he allowed designers to review the publication prior to printing. Design is seen as a form of image and text. Emigre was composed of content that was relative and meaningful. It must represent an idea. Some literature became abstract when analyzing design theory and criticism that led certain readers to view Émigré with a visual standpoint. Emigre required readers to value wisdom and intellect in analyzing design while remaining

opentonewapproachesandpossibilities.

Visual aspects of design can’t simply utilize the same, neutral traditions that some designers believed in. Emigre was a visual representation of the culture. It pushed design to have a personal relationship with the reader communicating that design reflects the world and lifestyle that society lives by. Through exploration and interaction, it documents the path of Graphic Design Kristie Huey

free from boundaries Lauren Francesconi RISD 2012

as something that is spontaneous and Design itself was redefined as visual information with a physical

1984 - 2005

Emigre No. 70

The End

No. text. 69 form of image and From Merz to Emigre and Beyond While literature requires design to communicate,

design also requires literature to become understandable. Designers were made aware that they must become literate through literature to fully comprehend the inner-workings of design.

Design is

communication

: communicating

image and text.

French word, émigré, refers to a historical context in which a person has migrated away for political reasons. With its first issue published in 1984 W until its last issue in 2005, Emigre magazine was a visual collection that sought to

break the boundaries

Founded by Rudy V VanderLans and Zuzana Licko, Émigré magazine embraced the new technological advancement of the first Macintosh computer; its default typefaces would reshape the future of design. This magazine was unlike other publications of its time. Originating as a journal to display the work of designers Emigre evolved into a publication that would

of traditional design and to redefine the meaning of communication.

bridge the gap between design and literature.

Through essays, intervi ws, and forms

THE MAGAZINE THAT IGNORES BOUNDARIES

1984Ð2005

rebelled

against old rules of the past and explored new conventions.

Vanderlans played with organic grid structures influenced by content and in doing so, each issue recreated the visual appearance of the magazine.

Kristie Huey Lauren Francesconi RISD 2012 REFERENCES Emigre No. 70 The End No. 69 From Merz to Emigre and Beyond Essays from Emigre.com

garbage and lacking sophistication, Émigré was also praised by others. A dynamic dialogue between designers was established through the literature published. Some critics claim that the writing became drawn out creating a never-ending conversation. Although this is true at times, the conversation exemplifies the character of design as one that is continuously transitioning back and forth. VanderLans treasured authenticity and believed that an interview with a designer must remain honest to the truth. In order to maintain truth, he allowed designers to review the publication prior to printing. Design is seen as a

form

of image and text. Its text must represent a relevant

At times, the text became abstract when analyzing design theory. This led certain readers to overlook the content of design theory and criticism; instead,

idea.

visual standpoint. In turn, readers were required to exercise wisdom and intellect while remaining open to new approaches and possibilities. Visual aspects of design can’t simply utilize the same, neutral traditions that certain designers believed in. Emigre was a

visual representation

of the culture.

It pushed design into forming a

personal relationship

with the reader communicating that design reflects the world and lifestyle that society lives by.

Through exploration and interaction, it documents the path of graphic design as something that is

spontaneous Design was redefined as visual information in the physical form of image and text. While literature requires design in order to communicate a message, design also requires literature to become understandable. Designers were made aware that they must become literate through literature to fully comprehend the inner-workings of design. Design in its simplest form is communication: communicating image and text as one.

EMIGRE

LETTERFORMS This book is a collection of 24 logos created from two letterforms and various typefaces. Two letterforms were combined to create a solid mark. These forms were cropped to create additional possibilities.

Included is a description of each typeface designer and specific text settings depending on different column widths. A perfect bound hardcover book was created to document the collection of these marks. 3.25 x 8.5in

Clarendon

An English, slab-serif typeface, Clarendon, was designed by Rober Besley. Besley designed this typeface in England for the Fann Street Foundry in 1845. Later in 1869, he was Lord Mayor of London. This typeface became popular and was patented at the same time when England passed a bill allowing it. Because of its rising popularity, Clarendon’s copyright was soon broken by people creating knock-offs. Still, it is known as the first registered typeface. It was named after 12.5/17 W 24p11

Clarendon

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Frutiger is a humanist sans-serif typeface named after its designer Adrian Frutiger (born in 1928). The Swiss typographer was commissioned in 1968 to design a new directional signage system for the Charles De Gaulle International Airport in France. He designed Frutiger specifically for the needs of this project – a modern appearance with strong legibility when viewed from various angles and distances. Frutiger merges the rationality and cleanliness of his earlier typefaces like Univers with the organic and proportional aspects of Gill Sans, a humanist typeface designed by Eric Gill. ‘Anti-geometric’

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Frutiger Light

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Sabon

Sabon, an old style serif typeface, was influenced by the types by Claude Garamond. Designed by Jan Tschichold between 1964 and 1967, Sabon was released by the Linotype, Monotype and Stempel type foundries in 1967. Born on April 2, 1902 in Germany, Tschichold was a typographer, book designer teacher, and writer. His father, being a provincial signwriter trained in calligraphy, gave Tschichold a different background and training than other typographers of the time. After his visit of the 13/16 W 24p11

Sabon

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LETTERFORMS

COCOA BAR Redesign a website for cocoa bar, a cafe located in New York City. This cafe serves chocolate, desserts, coffee and wine. It functions as a cafe during the day and transforms into a wine and dessert bar at night.

The purpose of this assignment is to explore hierarchy and organization of information. This is project is still a work in progress.

cocoa bar

contact

hours

services

careers

press

events

cocoa bar

cocoa bar | menu | services | events day

night

staff

store

During the day, cocoa bar is the perfect place to read a book, peruse the Internet with our all day free wireless internet access. Hang out with friends, meet with a business associate or colleague, enjoy the art exhibits on our wall, or take a little nap on our comfortable lounge chairs! Our extensive drink menu and chocolate menu will keep your five senses humming throughout your stay. Come visit us soon, grab a cup of hot chocolate with a homemade marshmallow, curl up in one of our oversized chairs, and get your daily dose of indulgence!

contact

cocoa bar

hours

careers

press

cocoa bar | menu | services | events chocolate

cake

drink

dessert

Cocoa bar is proud to present its customers with premium coffee, custom blended to achieve extraordinary results! Our coffee is roasted by award winning roasters whose source fair trade beans whenever possible and always promote practices that are environmentally and socially responsible. With out a doubt, you will also notice the quality and distinction as instantly as we did! Check our events calendar for cupping sessions, free tasting and other coffee events!

coffee tea wine

contact

hours

careers

press

COCOA BAR

WINE POSTER A poster using the concept of wine to define and describe the elements of typography. The content must contain sixty given terms that deal with aspects of typography.

A chosen concept of wine working with the idea of letterforms flowing into a glass is used to combine and unite text as information and as image. This poster is still a work in progress.

swash

SMALL CAPS white

UPPERCASE BOLD RED

ear

arm vertex

counter link

Old Style 2003

extended

loop

Old Style 2003

extended arm

crotch

bowl

ascender

stem

shoulder

beak

shoulder

serif

lowercase dessert

CONDENSED LIGHT ALC 11.0% BY VOL

finial

cross stroke

leg

Leading or line spacing refers to the space between the lines of type. The word, leading, was derived from the past when strips of lead were placed between lines of metal type. The amount of leading in a block of text affects the readability of the words written. Text with no leading will appear squished causing the ascenders and descenders to collide. Appropriate leading is used to set text to allow for easy, prolonged reading. This is so that the reader can read comfortably. Text that is set too tightly encourages vertical eye movement causing the reader to lose his place. Inappropriate leading can either be setting text too closely or too loosely. The amount of leading needed depends on the point size of the text. Text that is set too loosely creates striped patterns that will distract the reader. The default leading is typically set at 120%. Typically, shorter lines require less leading and longer lines require more.

CONDENSED LIGHT ALC 11.0% BY VOL Leading or line spacing refers to the space between the lines of type. The word, leading, was derived from the past when strips of lead were placed between lines of metal type. The amount of leading in a block of text affects the readability of the words written. Text with no leading will appear squished causing the ascenders and descenders to collide. Appropriate leading is used to set text to allow for easy, prolonged reading. This is so that the reader can read comfortably. Text that is set too tightly encourages vertical eye movement causing the reader to lose his place. Inappropriate leading can either be setting text too closely or too loosely. The amount of leading needed depends on the point size of the text. Text that is set too loosely creates striped patterns that will distract the reader. The default leading is typically set at 120%. Typically, shorter lines require less leading and longer lines require more.

descender

bracket apex

tail

bowl stem Line length is how long a line of text will extend to. Typically, a good line length is kept between 35 and 65 characters. However, limitations of space or special cases require longer or shorter lengths. Extremely long or short line lengths will create movement impairing easy readability.

terminal leg beak

descender

crotch

spur

link

lowercase dessert

Line length is how long a line of text will extend to. Typically, a good line length is kept between 35 and 65 characters. However, limitations of space or special cases require longer or shorter lengths. Extremely long or short line lengths will create movement impairing easy readability.

serif

bracket loop

barb apex

tail

spur

vertex

spine

cross bar

point refers to size of type pica is an extension of a point 1 inch = 6 picas 1 pica = 12 points

italics sparkling

cross bar

point refers to size of type pica is an extension of a point 1 inch = 6 picas 1 pica = 12 points

spine

italics sparkling

swash flourish that extends the stroke of a letterform

ear

stroke extending out from the main stem of the body of the letterform

SMALL CAPS white

point refers to size of type pica is an extension of a point 1 inch = 6 picas 1 pica = 12 points

ear

arm short strokes off the stem

stroke extending out from the main stem of body of the letterform

beak half-serif finish on some horizontal arms

bowl

half-serif finish on some horizontal arms

extended

arm short strokes off the stems

Old Style 2003

Line length is how long a line of text will extend to. Typically, a good line length is kept between 35 and 65 characters. Extremely long or short line lengths will create movement impairing easy readability.

negative space within a letterform

shoulder

curved stroke that is not part of a bowl

descender portion of the stem in a letterform that projects below the baseline

ligature character formed by the combination of two or more letterforms

The art of drinking wine explained. To fully experience drinking wine, you must look, smell and taste.

cross stroke character formed by the combination of two or more letterforms

The art of drinking wine explained. To fully experience drinking wine, you must look, smell and taste.

counter

Take notice of the wine being poured into a clear glass. The appearance of wine can tell you a lot about the wine itself. The colour of wine varies depending on the type of wine. There are white wines ranging from shades of green to yellow to brown. A white wine that has more colour indicates that there is more flavour and age to the wine; although, be careful not to mistake wine that has gone bad for brown wine. Red wines on the other hand are not simply red, but range from pale reds to rich, deep reds. Red wines tend to become lighter in colour as they age. Although red wines are improved with time, time can ruin most white wines. The clarity of wine refers to a wine’s ability to absorb and reflect light. Sharp clarity are indicators of good wine. Gently swirl your wine in the glass. This oxygenates the wine in the glass to bring out its full bouqet potential or the aroma of the wine. It also allows you to visualize the body of the wine. The body of wine refers to its flavour, alcohol content, texture and tannin. There are three types of bodies: full, medium and light. A wine with a full body is one that is thick and heavy with a milky texture while a wine with a thin body is thinner and flows like water. Texture describes how a wine feels. It can feel silky, rounded, smooth, etc. Finally, sip the wine. The most important aspect of a wine is its balance between sweetness and acidity. In order to fully experience the taste of wine, you must observe your first impression by sipping the wine. Then swash the wine around in order to examine its structure and feel. Finally, note the aftertaste of the wine after you swallow it. A wine should have a presence in your mouth without being similar to a fruit-flavored drink. Dry wines are opposite of sweet wines and should offer a puckering sensation.

rounded form that describes a counter

beak

rounded form that describes a counter

finial

rounded non-serif terminal

terminal

self-contained finish of a stroke without a serif

Leading or line spacing refers to the space between the lines of type. The amount of leading in a block of text affects the readability of the words written. Appropriate leading is used to set text to allow for easy, prolonged reading. Inappropriate leading can either be setting text too closely or too loosely. The amount of leading needed depends on the point size of the text. Text that is set too loosely creates striped patterns that will distract the reader. Typically, shorter lines require less leading and longer lines require more.

ascender

cross stroke

portion of the stem of a lowercase letterform that projects above the median

horizontal stroke that intersects a stem

CONDENSED LIGHT ALC 11.0% BY VOL

bracket transition between a serif and a stem

cross stroke

shoulder

horizontal stroke that intersects a stem

curved stroke that is not part of the bowl

terminal self-contained finish of a stroke without a serif

apex

counter

above point created by joining two diagonal stems

negative space within a letterform

spur extension that articulates the junction of a curved and rectilinear stroke

finial rounded non-serif terminal

uppercase

small caps

CABERNET SAUVIGNON French Bordeux L’Ecole No. 41 Merlot 2003 Zinfandel Pinot Noir 2005 sans-serif

barb tail curved or diagonal stroke at the finish of certain letterforms

Apex

half-serif finish on some curved strokes

link stroke that connects the bowl and the loop of a lowercase g

bracket transition between a serif and a stem

above point created by joining two diagonal stems

barb

spine

half-serif finish on some curved strokes

curved stem

stem significant vertical or oblique stroke

lowercase dessert

ascender height cap height

vertex bottom point created by joining two diagonal stems ascender height cap height

median

vertex bottom point created by joining two diagonal stems

x-height

baseline

point refers to size of type pica is an extension of a point 1 inch = 6 picas 1 pica = 12 points

leg

short stroke off the stem

median

x-height

descender height

spine tail curved or diagonal stroke at the finish of certain letterforms

UPPERCASE BOLD RED

baseline

curved stem

descender height

cross bar horizontal stroke that joins two stems together

swash leg short stroke off the stem

italics sparkling

extended

portion of the stem of a lowercase letterform that projects aove the median

bowl created in the descender of lowercase g

stroke that connects the bowl and the loop of a lowercase g

extension that articulates the junction of a curved and rectilinear stroke

Chardonnay Dom Pérignon Champagne moscato d’asci 2006 white reisling 2005 lowercase Ice Wine

ascender

loop link spur

italics bold

cross bar horizontal stroke that joins two stems together

CONDENSED LIGHT ALC 11.0% BY VOL

flourish that extends the stroke of a letterform

old style

Pinot Noir 2005 small caps uppercase letterforms drawn to the x-height of the typeface

old style lowercase numerals are set to x-height with ascenders and descenders

CABERNET SAUVIGNON

ascender height cap height

median

x-height

ear stroke extending out from the main stem of the body of the letterform

baseline

descender height

bowl rounded form that describes a counter

spur extension that articulates the junction of a curved and rectilinear stroke

italics forms are based from 15th century Italian handwriting

uppercase capital letters

Dom Pérignon

descender portion of the stem in a letterform that projects below the baseline

cross stroke horizontal stroke that intersects a stem

terminal self-contained finish of a stroke without a serif

cross stroke character formed by the combination

cross bar horizontal stroke that joins two stems together

lining figures uppercase numerals are the same height as uppercase letters

ALC 11.0% BY VOL

arm short strokes off the stem

beak half-serif finish on some horizontal arms

counter negative space within a letterform

link stroke that connects the bowl and the loop of a lowercase g

The art of drinking wine explained. To fully experience drinking wine, you must look, smell and taste.

lowercase smaller form of letters

loop bowl created in the descender of the lowercase g

moscato d’asci 2006 bracket transition between a serif and a stem

finial rounded non-serif terminal

apex above point created by joining two diagonal stems

crotch interior space where two strokes meet

vino stress orientation of the letterform indicated by the thin stroke in round forms

point refers to size of type pica is an extension of a point 1 inch = 6 picas 1 pica = 12 points

shoulder curved stroke that is not part of the bowl

swash flourish that extends the stroke of a letterform

barb half-serif finish on some curved strokes

ascender portion of the stem of a lowercase letterform that projects aove the median

tail curved or diagonal stroke at the finish of certain letterforms

Take notice of the wine being poured into a clear glass. The appearance of wine can tell you a lot about the wine itself. The colour of wine varies depending on the type of wine. There are white wines ranging from shades of green to yellow to brown. A white wine that has more colour indicates that there is more flavour and age to the wine; although, be careful not to mistake wine that has gone bad for brown wine. Red wines on the other hand are not simply red, but range from pale reds to rich, deep reds. Red wines tend to become lighter in colour as they age. Although red wines are improved with time, time can ruin most white wines. The clarity of wine refers to a wine’s ability to absorb and reflect light. Sharp clarity are indicators of good wine. Gently swirl your wine in the glass. This oxygenates the wine in the glass to bring out its full bouqet potential or the aroma of the wine. It also allows you to visualize the body of the wine. The body of wine refers to its flavour, alcohol content, texture and tannin. There are three types of bodies: full, medium and light. A wine with a full body is one that is thick and heavy with a milky texture while a wine with a thin body is thinner and flows like water. Texture describes how a wine feels. It can feel silky, rounded, smooth, etc. Finally, sip the wine. The most important aspect of a wine is its balance between sweetness and acidity. In order to fully experience the taste of wine, you must observe your first impression by sipping the wine.Then swash the wine around in order to examine its structure and feel. Finally, note the aftertaste of the wine after you swallow it. A wine should have a presence in your mouth without being similar to a fruit-flavored drink. Dry wines are opposite of sweet wines and should offer a puckering sensation.

leg short stroke off the stem of the letterform

French Bordeux

serif right angled or oblique foot at the end of the stroke

stem significant vertical or oblique stroke

spine curved stem

em/en space distance equal to the size of the typeface an en space is half the em space

Chardonnay roman basic letterform style

extended extended variation on the roman form

sans-serif typeface with no serifs or change in stroke weight

white reisling 2005

vertex bottom point created by joining two diagonal stems

bold characterized by a thicker stroke than the roman form

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