final issuu
By Olivia Albers
helvetica
HELVETICA.
A response to the movie, Helvetica. Words written by Olivia Albers for Typography I.
Overall, I expected the movie to who was talking about how words be fairly dry considering it only like “caffeine” and “explosion” focused on one font in particular. should have typefaces that match I was, however, pleasantly with the words’ definitions. surprised at how interesting the movie was and the many aspects I think a type can definitely that were covered surrounding influence the message one is Helvetica. Some of the points I trying to get across by conveying found the most interesting were a certain mood. At the same time, that Helvetica was inspired by the someone made the statement, sense of idealism and was created “meaning is in context, not a in Switzerland. I also enjoyed how typeface” which also makes sense the movie talked about different to me yet seems contradictory to periods of time that influenced the first quote. The last quote I type. After hearing about type’s noted was, “clarity is key” which “grunge period” I could faintly I feel like most people working in remember seeing some of that any type of design agree on. style of typography while growing up. The tidbit that stuck with me the most from the entire movie was Out of all the designers mentioned,hearing some of the older men talk I was intrigued by Wim Crouwel about how they learned to make and Matthew Carter the most and type by hand. While computers would like to learn more about make the task of creating type their design styles and ways of much faster, it makes me sad that thinking. At one point in the movie making type by hand will soon be a designer said, “Type shouldn’t a lost art form. be expressive.” I don’t think I agree with this statement. I think back to the American designer
in the shadows
inspiration
photos
inking
anatomy chart •
cap height
ascender height
•
• median
•
•
counter
x-height
• •
•
bowl
bowl
tail
•
• baseline
axis
•
crotch Olivia Albers
•
final
qualities of a letterform
renditions
3 choices
sculpture
We chose the design based on its movememt and cuving lines that resemble an infinity sign. We felt like we could make a sculpture that had the same movement and curving quality. As we began to sketch, we soon found out it is difficult to represent our ideas for a 3-D sculpture on 2-D paper.
We resorted to using rolls of masking tape that resembled the curve of our e and began to experiment with it. We printed out e’s and taped them onto the rolls for a better visual. When we finally settled on our sculpture’s final form we thought it successfully incorporated the original design’s curves but also brought in an element of assymetry with the straight line through the middle by positioning the e’s a certain way. For our design, we needed a material that was pliable to make the curves of the e’s but could hold it’s shape. We decided to go with cardboard. Once we started actually cuttiing out the e’s on cardboard, we realized we had to take our time with all of the curves to make them look clean.
After taping the e’s together, we decided to extend the tail of the e’s so the negative space between the two e’s would be smaller. This created a more unified look between the e’s. We also wanted to curve the ends of the e’s to add additional movement to the sculpture. We did this by pulling on the cardboard and retaping the ends.
Once we had created our cardboard mockette, we saw there were two ways our sculpture could be displayed. Vertically or horizontally both looked successful in our eyes, but ultimately we decided to go with the horizontal position. This showcased the connecting middle line of the e’s better which was important to us.
Once our form was finished, we had to decide how to decorate our mockette. We considered a lot of different options including paper macheing with magazines, applying strips of text, and wrapping the model in string. We wanted the figure to look extremely clean and to cover up the imperfections that the cardboard would inevitably create. In the end, we settled on using string to wrap our scultpure and used spray paint underneath to make sure none of the cardboard was visible.
Wrapping the letters with string did not take as long as we originally thought it would take. The most tedious parts of the e’s were the ends and corners. We had to cut small pieces of string to cover these spots and glue them on individually. We are both satisfied with our end product and are prud of what we accomplished with the project.
expressive type
sketches
Here are my preliminary 20 sketches for the word “escape�. A couple of themes I went with were jail, a key, relaxation, and a maze.
For the word “queen,� I thought of royalty and some of the key words we wrote down when we did the word mapping exercise in class. I had London themes, gems and jewels, the band Queen, and sketches based off playing cards.
For my first 20 “sneeze” sketches I thought of mucus and all the gross things associated with sneezing. I had a tendency to draw too many add-ons to my sketches that couldn’t be made out of solely type. On my next set of sketches I focues on only using the type to make the expressive type sketches work.
This is the sketch I chose to base my final design off of. I played around with the idea of using the key to convey the word escape, but people weren’t making the connection with the old-fashioned key and escape. One person I showed this sketch to immediately understood that it was supposed to be a maze and how escape worked with the picture.
These are the final sketches that I based my sneeze design on. I liked the movement of the “e” with the sketch on the left, but loved the way the mucus letters looked too. I wanted that sickly feel for the design; something that made people go, “Ewwwww.” So, I decided to combine two ideas.
After trying many designs, I settled on the card theme. I didn’t want to be cliche and create a design that represented the queen of England. I thought the card idea would make sense to people without hitting them over the head and being too obvious. I liked the shape of spades, but thought the queen of hearts would be easier for people to make a connection with.
My final maze design was fairly tedious to make. I made all of the letters out of a lowercase L and had to place each straight line individually. I like how the outer “e� is bold and really acts as a container while the other smaller letters would still confuse someone who would going through the maze.
I really enjoy how this design turned out. I love all the texture and grossness the font brings and the movement I created by misplacing the E. The three movement lines next to the “e” were made out of one half of a capitol H. All in all, this design totally screams the word “sneeze” to me.
When I was thinking how to properly translate the word “queen,” I wanted to use a font that was classic with a regal quality to it as well. I didn’t want something overly gaudy or obnoxious. With this Harrington font, I think I found the perfect balance. To put my own personal stamp on the design, I created a heart out of several different letters and symbols. I put the heart in place of where the Q’s tail would be as a play on the phrase “queen of hearts.” I like how the color red pops off the page and adds an unexpected element to the design.
Grids + Hierarchy
examples
found type
type posters
inspiration
25 sketches
ransitional
B
abcdefghijklmnopqrstuvwxyz 0123456789 ;’,./?&#!*() Between Old Style and Modern are Transitional typefaces. Transitional type tends to have a more obvious vertical axis and more prominent serifs compared to humanist forms. The first Transitional typeface was created by John Baskerville in the mid 18th century. Baskerville’s new printing methods allowed for finer character strokes and shapes. Compared to Old Style typefaces, Transitional typefaces have more contrast in weight.
( Baskerville Times Mrs. Eaves )
{
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
{
A
Courier Rockwell American Typewriter
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{
{
A
Courier Rockwell American Typewriter
AaBbCcDdEeFfGgHhIi JjKkLlMmNnOoPpQqRr SsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
Slab Serif
{
Courier Rockwell American Typewriter
{
A
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
Slab Serif
Modern {Didot
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
M
J
{Didot
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
dern
0123456789 ;’,./?&#!*()
[ Garamond Bembo Palatino ]
Style
P
Old Style starts with the first Roman typefaces that were created between the time of the late 15th and mid 18th centuries. The axis of letters usually leans left. In terms of stroke weight, there is not a dramatic difference. Bracketed serifs are usually found in Old Style typefaces. Sometimes, a diagonal cross stroke of the lowercase e can distinguish Old Style typefaces from others.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
Old
Decorative { Rosewood Capture it Curlz }
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
R
Sans-Serif
W
[ Gill Sans Helvetica Futura ]
Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Decorative AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz
{ Rosewood Capture it Curlz }
0123456789 ;’,./ ? & # ! * ( )
R
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
Decorative
R
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
{ Rosewood Capture it Curlz }
AbCdefghijklMnopqrstuvwxyz 0123456789; ’ , . / ? & # ! * ( )
{Didot
}
Bodoni Modern No. 20
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern J AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
{Didot Bodoni Modern No. 20}
J Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
{Didot Bodoni Modern No. 20}
J
Modern
W Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
W AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
Old Style [ Garamond Bembo Palatino ] Old Style starts with the first Roman typefaces that were created between the time of the late 15th and mid 18th centuries. The axis of letters usually leans left. In terms of stroke weight, there is not a dramatic difference. Bracketed serifs are usually found in Old Style typefaces. Sometimes, a diagonal cross stroke of the lowercase e can distinguish Old Style typefaces from others.
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
P
Slab Serif
{
{
Courier Rockwell American Typewriter
A
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
AaBbCcDdEeFfGgHhIiJj KkLlMmNnOoPpQqRrSs TtUuVvWwXxYyZz 0123456789 ;’,./ ? & # ! * ( )
W AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
W Sans-Serif typefaces do not have any serifs. Sans-Serif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz 0123456789; ’ , . / ? & # ! * ( )
Sans-Serif
[ Gill Sans Helvetica Futura ]
{ Rosewood Capture it Curlz } Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are time-sensitive and can quickly fall in and out of style.
Decorative
R
AbCdefghijklMnopqrstuvwxyz 0123456789; ’ , . / ? & # ! * ( )
{Didot
}
Bodoni Modern No. 20
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern J AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
{Didot Bodoni Modern No. 20}
J Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
( Baskerville Times Mrs. Eaves )
B
abcdefghijklmnopqrstuvwxyz 0123456789 ;’,./?&#!*()
Between Old Style and Modern are Transitional typefaces. Transitional type tends to have a more obvious vertical axis and more prominent serifs compared to humanist forms. The first Transitional typeface was created by John Baskerville in the mid 18th century. Baskerville’s new printing methods allowed for finer character strokes and shapes. Compared to Old Style typefaces, Transitional typefaces have more contrast in weight.
Transitional
J
{Didot
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with
straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern
0123456789 ;’,./?&#!*()
10 sketches
{Didot
}
Bodoni Modern No. 20
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern J AaBbCcDdEeFfGgHh IiJjKkLlMmNnOoPpQq RrSsTtUuVvWwXxYyZz 0123456789 ;’,./?&#!*()
J {Didot
}
Bodoni Modern No. 20
Modern Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern
{Didot Bodoni Modern No. 20}
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern {Didot
}
Bodoni Modern No. 20
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPp QqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
{Didot
}
Bodoni Modern No. 20
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern {Didot
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
J
}
Bodoni Modern No. 20
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
{Didot Bodoni Modern No. 20}
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Modern {Didot Bodoni Modern No. 20}
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
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J
J
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
{Didot
Bodoni Modern No. 20}
Modern
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
J
{Didot
Bodoni Modern No. 20}
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
AaBbCcDdEeFfGgHhIiJjKkLlMm NnOo PpQqRrSsTtUuVvWwXxYyZz 0123456789 ; ’ , . / ? & # ! * ( )
Modern
final 6 proofs
J
{Didot
Bodoni Modern No. 20}
Developed in the late 18th and early 19th centuries, Modern typefaces were quite different from what was usually used in print at the time. The typefaces’ strokes have high contrast paired with straight serifs. A completely vertical axis also makes Modern typefaces stand out.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0123456789;’,./?& ! ()
Modern
B
{Baskerville
Times Mrs. Eaves}
Between Old Style and Modern are Transitional typefaces. Transitional type tends to have a more obvious vertical axis and more prominent serifs compared to humanist forms. The first Transitional typeface was created by John Baskerville in the mid 18th century. Baskerville’s new printing methods allowed for finer character strokes and shapes. Compared to Old Style typefaces, Transitional typefaces have more contrast in weight.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0123456789;’,./?& ! ()
Transitional
A
{Courier Rockwell Americal Typewriter}
Slab Serif typefaces, also known as Egyptian typefaces, are traditionally used more in headlines due to their more decorative design. Heavy serifs prevent these typefaces from being read in low point sizes. These more decorative typefaces were originally used in advertising starting in the 19th century. Transitional typefaces can be classified by heavy serifs and little if any bracketing.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 ;’,./ ? & ! ( )
Slab Serif
P
{Garamond
Bembo Palatino}
Old Style starts with the first Roman typefaces that were created between the time of the late 15th and mid 18th centuries. The axis of letters usually leans left. In terms of stroke weight, there is not a dramatic difference. Bracketed serifs are usually found in Old Style typefaces. Sometimes, a diagonal cross stroke of the lowercase e can distinguish Old Style typefaces from others.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0123456789;’,./?& ! ()
Old Style
R
{rosewood
capture it Curlz}
Decorative typefaces are known for being elaborative and characterized. Since they are so specialized they don’t work well for body text and are often utilized in titles, headings, and signage. Often they reflect a certain type of message directed at a specific audience. Many Decorative typefaces are timesensitive and can quickly fall in and out of style.e.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0123456789;’,./?& ! ()
Decorative
W
{Gill Sans
}
Helvetica Futura
Sans-Serif typefaces do not have any serifs. SansSerif typefaces can be traced back to as early as the 5th century, but the revival of the Italian Renaissance made the typefaces fairly useless until the 20th century. The rediscovery of Sans-Serif typefaces can be attributed to revolts in Germany that were started to go against the traditional Blackletter styles that were heavily used. Sans-Serif typefaces can be broken down into three main sub categories: Humanist, Transitional, and Geometric.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 ;’ ,./ ? & ! ( )
Sans-Serif
event mailer
inspiration
sketches
renditions
New Year’s Eve Pops: Circque de la Symphonie Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Joseph Giunta, conducting Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! Back by popular demand, Cirque is the grandest New Year’s Eve tradition. These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortionists, jugglers and aerial flyers daring breathtaking feats of artistry and strength, as the gifted musicians of your Des Moines Symphony play some of the most popular classical music of all time – from Boléro and Sabre Dance to the William Tell Overture – all accompanied by dramatic lighting, sound and choreography. Don’t miss out on Cirque de la Symphonie’s triumphant return; reserve your seats today for the hottest New Year’s Eve ticket in town!
New Year’s Eve Pops: Circque de la Symphonie Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Joseph Giunta, conducting Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! Back by popular demand, Cirque is the grandest New Year’s Eve tradition. These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortionists, jugglers and aerial flyers daring breathtaking feats of artistry and strength, as the gifted musicians of your Des Moines Symphony play some of the most popular classical music of all time – from Boléro and Sabre Dance to the William Tell Overture – all accompanied by dramatic lighting, sound and choreography. Don’t miss out on Cirque de la Symphonie’s triumphant return; reserve your seats today for the hottest New Year’s Eve ticket in town!
New Year’s Eve Pops: Circque de la Symphonie Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Joseph Giunta, conducting Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! Back by popular demand, Cirque is the grandest New Year’s Eve tradition. These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortionists, jugglers and aerial flyers daring breathtaking feats of artistry and strength, as the gifted musicians of your Des Moines Symphony play some of the most popular classical music of all time – from Boléro and Sabre Dance to the William Tell Overture – all accompanied by dramatic lighting, sound and choreography. Don’t miss out on Cirque de la Symphonie’s triumphant return; reserve your seats today for the hottest New Year’s Eve ticket in town!
New Year’s Eve Pops: Circque de la Symphonie Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Joseph Giunta, conducting Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! Back by popular demand, Cirque is the grandest New Year’s Eve tradition. These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortionists, jugglers and aerial flyers daring breathtaking feats of artistry and strength, as the gifted musicians of your Des Moines Symphony play some of the most popular classical music of all time – from Boléro and Sabre Dance to the William Tell Overture – all accompanied by dramatic lighting, sound and choreography. Don’t miss out on Cirque de la Symphonie’s triumphant return; reserve your seats today for the hottest New Year’s Eve ticket in town!
New Year’s Eve Pops: Circque de la Symphonie Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Joseph Giunta, conducting Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! Back by popular demand, Cirque is the grandest New Year’s Eve tradition. These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortionists, jugglers and aerial flyers daring breathtaking feats of artistry and strength, as the gifted musicians of your Des Moines Symphony play some of the most popular classical music of all time – from Boléro and Sabre Dance to the William Tell Overture – all accompanied by dramatic lighting, sound and choreography. Don’t miss out on Cirque de la Symphonie’s triumphant return; reserve your seats today for the hottest New Year’s Eve ticket in town!
final rendition
New Year’s Eve Pops: Circque de la Symphonie Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Joseph Giunta, conducting Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! Back by popular demand, Cirque is the grandest New Year’s Eve tradition. These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortionists, jugglers and aerial flyers daring breathtaking feats of artistry and strength, as the gifted musicians of your Des Moines Symphony play some of the most popular classical music of all time – from Boléro and Sabre Dance to the William Tell Overture – all accompanied by dramatic lighting, sound and choreography. Don’t miss out on Cirque de la Symphonie’s triumphant return; reserve your seats today for the hottest New Year’s Eve ticket in town!
final design
New Year’s Des Moines Civic Center (221 Walnut Street, Downtown Des Moines) Wednesday December 31, 2014 8 p.m. $33 - $88 Tickets
Central Iowa’s signature New Year’s Eve event is the Des Moines Symphony’s Pops at the Civic Center, this year, with Cirque de la Symphonie in their third appearance with the Orchestra! These world renowned soaring aerialists and strongmen have brought our sold-out houses to their feet on numerous occasions throughout the evening. Experience it live in a brand new program with contortion-
Y o u’ r e I n v i t e d
Ol 12 ivia De 27 34 Albe s M th rs oin St. es, IA 50 3
11
Ni Ha el W Ce rmo ard nte n F r 2 ine 81 Ar ts
resume
inspiration
sketches
first designs
Olivia Albers Education
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
skills
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
work experience .... a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
contact
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
Olivia Albers
skills
work experience
contact
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Education
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
Olivia Albers Education
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
skills
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
work experience ....
contact
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
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Olivia Albers Education
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
skills
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
work experience ....
contact
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
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Education
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
skills
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a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa bl;ekrn;bqekrnboqierbnq;oeirbn
work experience ....
contact
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
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Olivia Albers ..............................................................................
Education
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
skills
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
experience
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
contact
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
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Olivia Albers
work experience
contact
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skills
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Education
Phone: Email: Address:
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Contact
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
Olivia Albers
contact
..............................................................................
Education
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
skills
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd ;alskdmalv;ksen;awkenbo;awenb;oawknr;boaiwnrbioa ;alskdv;alkein;boaiwn;oeibn;aowirn;baknre;blkaen;rlbkan;eorinb;aerboainerobinaerb a;onv;oaiwen;alwnbe;n;rwoibnqoeirnbl;ekrn;bqekrnboqierbnq;oeirbn
experience
a;sldkca;lskdvn;alskdmval;ksdnv;aljkrv;alke ;akvn;aslknv;alksnv;lakne;blakne;blkawne;blksdn;lkbns;dlkbnasd
final designs
Olivia Albers ........................................................................
education
skills
experience
Drake University: Reporting & Writing Principles, Web Page Design, Digital Media, 2-D Design, Philosophy of Art, Print Media Editing, Media Responsibity, Magazine Staff Writing, Drawing I, Typography I, Video Production, Magazine Freelance Writing
Intro to Letterpress, 3-D Design, Form & Concept, Painting I
General: Graphic Design, Social Media Marketing, Writing, Editing, Communication, E-Commerce, Strategic Planning, Spanish, Blogging, Web Marketing
Additional Programs: CQ5, CMS, Omniture, Trello, Bitly, Hootsuite
University of Nebraska Lincoln: Intro to Art History
Social Media: Twitter, Facebook, LinkedIn, Pinterest, Instagram
Adobe Programs: Indesign, Photoshop, Illustrator
Better Homes and Gardens: E-Commerice Intern, Digital Home Department Intern Ten 25 Designs: Account Coordinator for Social Media
(402) 217-6060 | brooke.albers@drake.edu | 1227 34th St. Des Moines, IA 50311
(402) 217-6060 brooke.albers@drake.edu
Olivia Albers
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education Drake University: Reporting & Writing Principles Web Page Design Digital Media 2-D Design Philosophy of Art Print Media Editing Media Responsibity Themes in Art & Environment
skills
Magazine Staff Writing Drawing I Typography I Video Production Magazine Freelance Writing Intro to Letterpress 3-D Design, Form & Concept Painting I
University of Nebraska Lincoln: Intro to Art History
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programs Adobe:
Additional:
Indesign Photoshop Illustrator Acrobat
CQ5 CMS Omniture Trello
work experience
1227 34th St. Des Moines, IA 50311
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Graphic Design Social Media Marketing Writing Editing Communication E-Commerce Strategic Planning Spanish Blogging Web Marketing
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social media Bitly Hootsuite
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Better Homes and Gardens: E-Commerce & Digital Home Department Intern Ten 25 Designs: Account Coordinator for Social Media
Twitter, Facebook, LinkedIn, Pinterest, Instagram
cover letters
Olivia Albers ........................................................................
Mr. / Ms. _______, I found the graphic designer position you posted about on www. graphicdesignjobs.com.As a recent graduate of Drake University's graphic design program, I could bring many strong skills to your business such as my program experience and communication skills. With degrees in graphic design and magazine journalism, I am qualified for this position. With experience in several Adobe programe incluing Photoshop, InDesign, and Illustrator I can turn my creative ideas into tangible designs. My communication skills also help me collaborate with other people to make the end vision come to life. In addition, four and a half years of taking Spanish classes allows me to speak with Spanishspeaking clients. Over my four years in college, I have had three different internships at two separate companies. I was an E-Commerce intern at Meredith Corporation's Better Homes and Gardens magazine for a year and then served as a Digital Home Department intern for the magazine for seven months. Since September 2014 I have been at Ten 25 Designs, a web design company in West Des Moines. At Ten 25 Designs I am the social media account manager and am in charge of clients' multiple social media accounts. After researching your company and its goals, I feel my own aspirations align with the company's. I hope I get the chance to learn more about your company and the people you serve. I look forward to hearing from you soon.
(402) 217-6060 | brooke.albers@drake.edu | 1227 34th St. Des Moines, IA 50311
(402) 217-6060 brooke.albers@drake.edu
Olivia Albers
1227 34th St. Des Moines, IA 50311
Mr. / Ms. _______, I found the graphic designer position you posted about on www.graphicdesignjobs.com.As a recent graduate of Drake University's graphic design program, I could bring many strong skills to your business such as my program experience and communication skills. With degrees in graphic design and magazine journalism, I am qualified for this position. With experience in several Adobe programe incluing Photoshop, InDesign, and Illustrator I can turn my creative ideas into tangible designs. My communication skills also help me collaborate with other people to make the end vision come to life. In addition, four and a half years of taking Spanish classes allows me to speak with Spanish-speaking clients. Over my four years in college, I have had three different internships at two separate companies. I was an E-Commerce intern at Meredith Corporation's Better Homes and Gardens magazine for a year and then served as a Digital Home Department intern for the magazine for seven months. Since September 2014 I have been at Ten 25 Designs, a web design company in West Des Moines. At Ten 25 Designs I am the social media account manager and am in charge of clients' multiple social media accounts. After researching your company and its goals, I feel my own aspirations align with the company's. I hope I get the chance to learn more about your company and the people you serve. I look forward to hearing from you soon.
type designer
info cards
type quizzes
gill sans
mrs.eaves
avant garde
bakserville
futura
serifa and bank gothic
reflection I learned how to identify certain styles of type, how to use them affectively within design, and how type can affect the overal message or goal you are trying to produce. I would like to learn more about pairing typefaces together. We definitely worked on this in class but it wasn’t until the end of the semester. I think more projects similar to the type posters would be helpful. I want to learn more about Louise Fili. I love her feminine design and how she singlehandedly (for the most part) created a huge business. I enjoyed the event mailer and sculpture project the most because it wasn’t what I expected to be working on in a type class. These projects helped me think outside the box when it comes to type. I think the found type assignment was not very helpful because we weren’t actually creating anything. I would change some of the deadlines for projects. I think a few of the projects, ,like this final issuu, had such constraining time lines that students’ best work wasn’t able to be seen. For me, I got the most out of the type poster project because it showed me how to put type together and classify font families.