Cover
Logo & Intro
TYPOGRAPHICAL Portfolio
Table of Contents Hi! My name is Abby Brown. When I started learning what I liked and how to incorporate my passion into a job, I started with Visual Communications. I really enjoy designing events for Companies and Convention Halls as well as Weddings. My inspiration comes from industry magazines, trade shows, and traveling. I realized how much gaining a knowledge of Graphic Design would help me to emphasize my passion. So I knew that gaining a B.A. at FIDM in Graphic Design would help me to firm up my foundation.
An exploration of the history, usage and terminology used in the graphic arts. Fashion Institute of Design & Merchandising
Summer 2016
Logo & Intro
2
Fonts Used
6
Typographical Terms
8
Character Studies
10
Logos
20
Ubiquitous Type
22
Sketchbook
6
Fonts Used
24
Lyric Poster
28
Museum Poster
30
Pop! Project
32
• Tw Cen MT • Didot • Rounded Elegance • Rounded Rainbows • Bodoni Smallcaps 72 • Helvetica Neue • Bauhaus • Bella F37 • Channel • Avenir • Dolce Vita
Typographical Terms Illustrated
8
Cursive Early italic typefaces that resemble handwriting but with the letters disconnected.
Character Study : The Letter Q Character Study : The Letter Q
Evolution Of A Q
Evolution Of A Q
Most historians alsowent wentby bythe the Most historiansbelieve believethat thatthe the ooph, ooph, which which also name “gogh,” language,with withno no name “gogh,”originated originatedininthe thePhoenician Phoenician language, lineage to to previous alsobelieve believethat that lineage previouswritten writtenforms. forms. Historians Historians also character’sshape shapedepicted depicted the the back back view thethe character’s view of ofaaperson’s person’s head, with thetail tailrepresenting representing the the neck neck or head, with the or throat. throat. possible, butif ifyou youconsider consider that that the the letter’s It’sIt’s possible, but letter’s name namemeant meant monkey, thenperhaps perhapsthe theround round part part of of the monkey, then the symbol symbol represents anotherkind kindofofbackside, backside, and and the represents another the tail tailof ofwhat what became our Q may have started out as, well, a tail. became our Q may have started out as, well, a tail. The Greeks adopted the ooph, but found it difficult to
The first Roman Q had the Etruscan vertical tail, but over
it evolved into the graceful vertical curved shape that cradles The firsttime Roman Q had the Etruscan tail, but over the U which followscurved it. time it evolved into usually the graceful shape that cradles the U which usually follows it.
The Greeks adopted the ooph, but found it difficult to pronounce, and changed it slightly to “koppa.” The Greeks pronounce, changed to the “koppa.” The Greeks also modifiand ed the design itbyslightly stopping vertical stroke, or also the design stopping the vertical stroke, or tail,modifi at theedoutside of theby circle. The koppa, however, tail,represented at the outside of the koppa, however, virtually thecircle. same The sound as “kappa,” another represented virtually same as “kappa,” another Greek letter. One ofthe them had sound to go, and koppa was Greek letter.the One of them hadbecause to go, and koppa was ultimately loser, perhaps it had begun to look ultimately the loser, Greek perhaps because much like another letter, the P. it had begun to look much like another Greek letter, the P.
NN
o one knows why ‘A’ is the first letter of our alphabet. Some think it’s o onethis knows why ‘A’ is the one first of letter ourcommon alphabet.vowel Somesounds think it’s because letter represents theof most becauselanguages this letterof represents one hemisphere. of the most common vowel argue sounds in ancient the western Other sources in ancient languages theno western Other sources argue against this theory because thereof were vowelhemisphere. sounds in the Phoenician against(The this theory because there were no vowel soundstoinbe thethe Phoenician language. Phoenician alphabet is generally thought basis of the language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) one we use today.)
Distressed
Some say the Phoenicians chose the head of an ox to represent the Some the Phoenicians chose the head of anstop). ox toThe represent ‘A’ sound (for thesay Phoenicians, this was actually a glottal ox wasthe a ‘A’ sound (for the Phoenicians, was actually a glottal ox was a common, important animal to thethis Phoenicians. It was theirstop). mainThe power source common, important animalthe to fithe Phoenicians. It was and theirhauled main power for heavy work. Oxen plowed elds, harvested crops, food tosource for heavy Oxen the fithe elds,oxharvested and course hauled at food to market. Somework. sources alsoplowed claim that was oftencrops, the main meals. market.forSome sources claim ox was often the main course at the meals. A symbol the ox wouldalso have beenthat an the important communication tool for A symbol It forsomewhat the ox would have been anthat important communication Phoenicians. naturally follows an ox symbol would betool the for firstthe Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet. letter of the alphabet. The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to firstface. drewThey the ox headthis ‘A’ as a ‘V’“alef,” with athe crossbar to distinguishThe the Phoenicians horns from the called letter Phoenician distinguish the horns from theofface. They called letter “alef,” the Phoenician word for ox. Through centuries writing (most of this it quickly, with little care for word for ox. Through writing (most it quickly, littlefrom care for maintaining detail) the alefcenturies evolvedofinto a form thatoflooked very with different maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’. 400 BC, it looked more like our modern ‘k’ than an ‘A’.
O
O
Pagination
18 Character Letter OO CharacterStudy Study : The Letter
SS
ome believe that our present O evolved
The Greeks adapted the ayin to their
from a that Phoenician symbol; vote for The communication system and it to to represent ome believe our present Oothers evolved Greeks adapted theused ayin their an even more ancientothers Egyptian heiroglyph the short vowel sound ofused ‘o.’ The also from a Phoenician symbol; vote for communication system and it toGreeks represent themore source. The most fanciful explanation, changed thesound name of of ‘o.’ the The letterGreeks to Omicron. an as even ancient Egyptian heiroglyph the short vowel also though, The is offered by Rudyard Kipling in changed his (The Omega is another they as the source. most fanciful explanation, the name of theGreek letter O, to which Omicron. So Stories.by “How the Alphabet Made” longO, ‘o’which sound.)they though,Just is offered Rudyard Kipling was in his (Theinvented Omegatois represent another the Greek recounts how a Neolithic tribesman and his Just So Stories. “How the Alphabet was Made” invented to represent the long ‘o’ sound.) precocious daughter invent the alphabet by While the Phoenicians and the Greeks recounts how a Neolithic tribesman and his drawing pictures to represent sounds. After drew the letter as a true, nearly perfect precocious daughter invent the alphabet by While the Phoenicians and the Greeks finishing the A and Y (inspired by the mouth and circle, the Romans condensed the shape drawingtailpictures to represent sounds. After drew the letter as a true, nearly perfect of a carp), the child, Taffy, asks her father to slightly to be more in keeping with their other finishingmake the Aanother and Y (inspired byshe thecan mouth and into circle, the Romans condensed the shape sound that translate monumental capitals. tail of a a carp), the child, Taffy, asks her father to slightly to be more in keeping with their other picture. make another sound that she can translate into monumental capitals. a picture. The father’s sketch of the first O would serve perfectly well today, since round remains the definingsketch property Actually, the O The father’s of of thethe firstletter. O would serve didwell starttoday, out assince a drawing something, perfectly round of remains the but an eggoforthe a stone, even a mouth. definingnot property letter.orActually, the O The of our O was probably thebut symbol did starttrue outancestor as a drawing of something, for an eye, complete with a center dot for the not an egg or a stone, or even a mouth. The pupil. The symbol for eye, “ayin” (pronounced true ancestor of our O was probably the symbol “eye-in”) appears among the Phoenician and for an eye, complete with a center dot for the other Semitic languages around 1000 B.C. pupil. The symbol for eye, “ayin” (pronounced “eye-in”) appears among the Phoenician and other Semitic languages around 1000 B.C.
18 PORTFOLIO SUMMER 2016
26
Ampersand “&” Sketches
Sketchbook Cont.
Calligraphy
Elegant handwriting, or the art of producing such handwriting.
Serif a small line attached to the end of a stroke in a letter or symbol.
Dingbatja a term used to describe certain fonts that have shapes and symbols in place of what would normally be letters and numbers. One common example is the Zapf Dingbat.
Grotesque
A
The average space between characters in a block of text. Sometimes also referred to as letterspacing.
Display
Type used to attract attention, usually above 14 points in size.
O
A capital letter with an ornamental flourish.
Didone
a typeface classification characterized by slab-like serifs without brackets; vertical orientation of weight axes.
Wood Type A type made of wood.
Kerning The process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.
&
Character Study : The Ampersand
T
ype ype designers designers have have to to walk walk aa narrow narrow
Seventy-Two the engraved elegance of thecaptures 18th century master’s work for camel. Some contend this was because the upside-down V looked like the elegance of the the 18thcharacters century master’s work without reducing to without reducing the characters oversimplifi ed geometric shapes.to This hump of a camel. The Greeks borrowed the basic Phoenician form and changed its name to oversimplifi ed geometric shapes.plus This typeface consists of two weights gamma. They also made some dramatic changes to the letter’s appearance. At typeface consists of two weights plus companion italics, including elegant swash various times in ancient Greek history, the gamma looked like a one-sided arrow companion italics, including elegant swash capitals for both italics. pointing up, an upside-down L, or a crescentits moon. Throughout this time, capitals for both italics. The Greeks borrowed the basic Phoenician form and changed name to
Letterforms are dense and compressed, with bold and horizontal strokes. Also referred to as Gothic, Old English, or Broken.
Swash
Drop Cap
drop cap is a large capital letter at the beginning of a text block that has the depth of two or more lines of regular text.
Is frequently used as a synonym with san serif. At other times, it is used to describe a particular style or subset of sans-serif typefaces.
16
Blackletter
Oblique
Roman characters that slant to the right. Similar to italic but without the script quality of a true italic.
Tracking
A font processed to look faded or wrinkled.
path in their work. The defined
By By
the the
time time
Charlemagne’s Charlemagne’s
scribes scribes
developed the Carolingian minuscule in about
path in their work. The defined developed the Carolingian minuscule in about
shapes of the letters of our alphabet 775 A.D., the “et” ligature had become a
shapes of the letters of our alphabet 775 A.D., the “et” ligature had become a
provide little room for self-expression, which standard part of their repertoire. It remained
provide little room for self-expression, which standard part of their repertoire. It remained
limits how creative a designer can get when so all the way until the invention of printing
limits how creative a designer can get when so all the way until the invention of printing
it comes to drawing individual letterforms. in the 15th century, when the ampersand was
however, the gamma always represented the same hard ‘g’ sound that it did for
About This Font : About ThisFont Font(printing : Bauhaus style) was Bauhaus created Font (printing style) was originally by Herbert originally created byBauhaus Herbert in Bayer of the Dessau 1925. has Bauhaus a simple in BayerEach of theletter Dessau geometrical form,has producing 1925. Each letter a simple clean lines and clear individual geometrical form, producing letters. clean lines and clear individual
it comes to drawing individual letterforms. in the 15th century, when the ampersand was adopted, with enthusiasm,
gamma. They also made somethedramatic changes to the letter’s appearance. At Phoenicians. 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, “The G was created to however, the gamma always represented the same hard ‘g’ sound that it did for eliminate the confusion the Phoenicians. caused by one letter representing two sounds.”
There are exceptions: the
“The G was created to eliminate the confusion The Greek form was adopted by the Etruscans and then by the Romans, where caused by one letter for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin representing two sounds.” alphabet. The G was created to eliminate the confusion caused by one letter
There are for exceptions: the ampersand, instance, has
adopted, withtypographers. enthusiasm, by the first
for instance, has aampersand, well-deserved reputation
by the first typographers. For example, Francesco
a well-deserved as being one of reputation our most
For example, Francesco Colonna’s Hypnerotomachia
fanciful characters, as as being one of as ourwell most
Poliphili, by Aldus Colonna’s printed Hypnerotomachia
one of the most funas to well draw! fanciful characters, as
Manutius in 1499, used Poliphili, printed by Aldus
one of the most fun to draw!
twenty-fi a Manutiusve ampersands in 1499, on used single page. Why such liberal twenty-fi ve ampersands on a
Like
many
letters
in
our current alphabet, the
Like
many
letters
our current alphabet, the
as a convenience. The Latin word et (meaning
ampersand probably began
letters.
use of the ampersand? Early
in
single page. Why such liberal
ampersand probably began
printers
wanted
to
keep
use of the ampersand? Early
their work in the tradition of hand-illuminated
printers wanted to keep
“and”) was first written as two distinct letters, manuscripts. And, like us, they considered the
as a convenience. The Latin word et (meaning their work in the tradition of hand-illuminated
but over time the ‘e’ and ‘t’ were combined ampersand a particularly beautiful character
“and”) was first written as two distinct letters, manuscripts. And, like us, they considered the
representing two sounds. The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’
into a ligature of sorts. Once the ampersand and enjoyed using it for its aesthetic merit.
but over time the and ‘t’character, were combined was accepted as a‘e’single artistry ampersand a particularly beautiful character into aover ligature sorts. Oncedesign the ampersand enjoyed it for its aesthetic merit. took and aof more flowing evolved. andThe wordusing “ampersand” is an alteration
The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds. The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’
was accepted as a single character, artistry Credit for the invention of the ampersand is of the phrase “et, per se and” (that is: “et by
usually given Marcus Tiro, who included it itselfThe [means] which became took over andtoa more flowing design evolved. wordand”), “ampersand” is an corrupted alteration in a shorthand system he ampersand devised in 63 per se“et, and”, finally,(that ampersand. Credit for the writing invention of the is to of “and, the phrase perand se and” is: “et by
B.C. usually given to Marcus Tiro, who included it itself [means] and”), which became corrupted
in a shorthand writing system he devised in 63 to “and, per se and”, and finally, ampersand. B.C.
14 PORTFOLIO SUMMER 2016
10 PORTFOLIO SUMMER 2016
Used exclusively for decorative purposes, and are not suitable for body text. They have the most distinctive designs of all fonts, and may even incorporate pictures of objects, animals, etc. into the character designs.
Also called Egyptian and square serif. Typestyle recognizable by its heavy, square serifs.
In printing, refers to type that drops out of the background and assumes the color of the paper.
f course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that f course, the story begins a bit earlier than that. The Phoenicians, and looked roughly like an upside-down V to represent the consonant ‘g’ The ITC Bodoni™ Seventy-Two typeface is the other Semitic peoples used simple form that soundof (asSyria, in “go”). Theyanamed thegraphic form gimel, which was the Phoenician word part theBodoni™ ITC Bodoni typeface family. Based TheofITC Seventy-Two typeface is V to this represent the the consonant ‘g’ V looked like the forupside-down camel. Some contend was because upside-down part of the ITC Bodoni typeface family. Based looked roughly like an on Bodoni’s “Papale” font, ITC Bodoni hump a camel. on Bodoni’s “Papale” ITC Bodonisound (as in “go”). They named Seventy-Two captures font, the engraved theofform gimel, which was the Phoenician word
About This Font About This Font
s7722 lcaapps maalllc iSSm doonni BBood
For as long as there have been Qs, designers have been For as long asthe there have tail. beenThis Qs, opportunity designers have having fun with letter’s for been having fun with the letter’s tail. This opportunity for typographic playfulness may even date back to the typographic playfulness may even date back to the Phoenicians: the original ancestor of our Q was called “ooph,” Phoenicians: the original ancestor of our Q was called “ooph,” thethe Phoenician word for monkey. The ooph represented an Phoenician word for monkey. The ooph represented an emphatic guttural orininany any emphatic gutturalsound soundnot notfound found in in English, English, or Indo-European Indo-Europeanlanguage. language.
the thinnest graphic rule (line) printable on a specific output device.
Reversed
8 PORTFOLIO SUMMER 2016
14
12Character CharacterStudy Study: The : TheLetter LetterAA
Slab Serif
Hairline Rule
Typographical Terms
6 PORTFOLIO SUMMER 2016
10
Decorative
Geometric Geometric sans-serif typefaces are based on geometric shapes. Note the optically circular letter “O” and the simple, single-story construction of the lowercase letter “a”. Geometric sans-serif fonts have a very modern look and feel.
Letter “A” Sketches
16 PORTFOLIO SUMMER 2016
12 PORTFOLIO SUMMER 2016
22
20
Ubiquitous The presence of typography both good and bad, can be seen everywhere.
T
Logos
Pristine Ele
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 some-thing 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.
ents
Shine Through Visual Power
One question, nevertheless, has been often in my mind. When all rightthinking 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 travellers, 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 pre- 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 of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made. Writing systems vary, but a good page is not hard to learn to recognize, whether it comes from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy. The principles that unite these distant schools of design are based on the structure and scale of the human body - the eye, the hand, and the forearm in particular and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads.
24
Letter “g” Sketches
Sketchbook
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.” Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of It is true that typographer’s tools are presently changing with considerable force and speed, but this is not a manual in the use of any particular typesetting system or medium. I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking hand and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.
20 PORTFOLIO SUMMER 2016
24 PORTFOLIO SUMMER 2016 22 PORTFOLIO SUMMER 2016
28
California Girls
weʼre
unforgettable
30
The Museum of Modern Typography
Bikinis on Top
Daisy Dukes
So Hot popsicle We'll melt your oooooh oh oooooh sun-kissed skin
Lyric Poster
California Girls
Fine , Fresh , Fierce We got it on lock West Coast
Museum Poster
Designed by : Rick Banks
Pop! Project
October 2 - March 25, 2017
represent
Now put your hands up oooooh oh
Bella
Week One
PRESENTS THE ART OF
weʼre
undeniable
32
F
ont design for the F37 Foundry and exclusively sold at Hype For Type. Designed in the classical French Didot style but with a contemporary geometrical twist. F37 Bella is based on letterforms of American typographers; John Pistilli and Herb Lubalin, and Swiss typographer Jan Tschichold.Due to the extreme thinness of the hairlines, it is recommended to use F37 Bella at large display sizes only. F37 Bella contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
oooooh
Sex on the Beach
The Museum of Modern Typography 221 S Grand Ave. Los Angeles, CA 90012 www.momt.com
We Don't mind sand in our stilettoes
frank o’ hara jasper johns andy warhol project roy lichtensteinvisual larry rivers issue one in this issue: volume seven pop!
26 PORTFOLIO SUMMER 2016
28 PORTFOLIO SUMMER 2016
30 PORTFOLIO SUMMER 2016
32 PORTFOLIO SUMMER 2016