Winter
2019 F IDM
est.2018 Videographer
Ta b l e o f C o n t e n t s
Intro
Sketches
Log Dev
Character Studies
Typ Illustrated Terms
go velopment
Brochure
Ubiquitous Type
pographer Fonts Used
Anastasia White
is a 20 year old from Arizona. She is a Dig FIDM in Los Angeles and will finish her A 2019. For this paragraph we will be shifting gears and talking about pets she
Sphinx Cats are a hairless breed of cat with point ears and wrinkly bodies. An cats and has grown an interesed in this breed because they look like a 65-yea has decided to live out his days in Key West.
Any lizard would do, but a Chameleon would solidify her status as the driver o and let’s be real, Lily Tomlin is an icon, who wouldn’t want to be her protege?
Lemurs and Sifakas are a simian species indegenous to Madagascar and are o cies list. They are some of the most rare kinds of simian, and are very unique behaviour. Many live in trees. but still can go short distances on the ground b common for lemurs) and doing a hop/shuffle(watch Zoombafoo, it’s so cute)
Alpacas are not only the mascot for Academic Decathlon, they are also one o mammals in South America(cool!) . They are very large, and their long neck m ornamention on them to make them fancy boys&girls. They should not be co Llamas are much more aggressive and a lot less cute.
Pomeranians and Grear Danes would make a great buddy cop movie and you
A Parasourapholus is an extinct Dinosaur with a duck bill and a very large pro their head. They were Herbivores, as most Duckbilled Dinosaurs are, and Ana this species every since she saw Land Before Time as a kid.
gital Media Student at Associates in December of would like to have.
nastasia is obssessed with ar-old retired actor that
of the Magic School Bus ?
on the Endangered Spee in both their look and by walking on all fours(very
of the main domesticated makes it very fun to put onfused with Llamas, as
u know it
otrusion in the back of astasia has always loved
Evolution of the A
N
o one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events. Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet
About this Font: Caslon William Caslon (1693 – 23 January 1766), also known as William Caslon I, was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder’s tool cutter. Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day in England and on the continent.
Exclamation Point!
G
raphically the exclamation mark is represented as a full stop point with a vertical line above. One
theory of its origin is that it is derived from a Latin exclamation of joy. The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point. The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation” or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment.
Avenir Adrian Frutiger designed Avenir in 1988, released by a company that is now a branch of the Monotype Corporation, Linotype GmbH. The typeface got its name from the word “future,� being that Avenir is the french translation. It is a sans-serif geometric typeface, inspired by classics of the style such as Futura (1927) and Erbar (1922).
Evolution of the letter Z The twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet. They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning. Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface). The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the Romans conquered the Greeks. In order to write these words a Z was required, and so, several centuries after it was first banished from the Roman alphabet, the Z was allowed to return. However, because the letter was not a part of the traditional Roman language, the Z was relegated to the last spot in the alphabetical hierarchy.
Terms Illus-
Blackletter
The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering.
Hairline Rule
In typography, a very thin rule line typically less than one half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image.
Drop Cap A large capital letter at the beginning of a text block that has the depth of two or more lines of regular text.
Cursive
Any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts. The writing style can be further divided as “looped”, “italic” or “connected”.
Tracking
Used in digital typography to mean overall letterspacing.
Calligraphy
A visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instrument.
Decorativ
Script fonts, font features such as aggerated serifs designed to be u than body copy s described as dec
• Serif
A small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts.
Display Type
A typeface that is intended for use at large sizes for headings, rather than for extended passages of body text. Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text.
Dingbat
An ornament, c spacer used in t ten employed fo of box frames.
Egyptian
A type of serif characterized block-like serif minals may be and angular, o Slab serifs wer in and most po the nineteenth They form a la ied genre. Som Memphis and a geometric de minimal variat width: they are described as s
⅔
Distressed
ve
ts with extreme s swashes or exs, and any fonts used at larger Is a genre of serif typeface sizes can be that emerged in the late 18th corative type. century and was the standard style of general-purpose printing during the nineteenth. It is characterized by narrow and unbracketed (hairline) serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, some stroke endings show ball terminals, and unornamented, character, or “modern” appearance. typesetting, ofor the creation
Didone
•
n Font
f typeface by thick, fs. Serif tere either blunt or rounded. re invented opular during h century. arge and varme such as Rockwell have esign with tion in stroke e sometimes sans-serif fonts
With irregular contours and weathered appearance, these designs are a great way to return a natural, hand made charm to typography.
A Reversed
Also called “knocking out” is when type is dropped out of a background color, tint, illustration, or photograph.
&
Ampersand Wood Type
Type made from wood. formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical.
The origin of the ampersand can be traced back to the Latin word et, meaning ‘and’. The E and the T that make up this word were occasionally written together to form a ligature (a character consisting of two or more joined letters). Writing the word this way saved the writer time, with one letter flowing seamlessly into the next a form of cursive or joined
Fraction
Fractions can be a regularly occurring element in text. They are routinely used in text for measurements and dimensions, recipes, math and science notation, as well as in manuals and other technical documentation. Fractions can be represented in several ways: spelled out, using decimals, by diagonal or slashed
Raised Cap A design style in which the first letter of a paragraph is set in a larger point size and is aligned with the baseline of the first line of text.
Æ
Ligature
In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph. An example is the character æ as used in English, in which the letters a and e are joined.
Logos
Museum of Contemporary Typography
Museum of Contemporary Typography
M Museum of Contemporary Typography
o c
t
Museum of Contemporary Typography
Museum of Contemporary Typography Museum of Contemporary Typography
Museum of Contemporary Typography Museum of Contemporary Typography
Saul
s s a B
Duringhis40-yearcareerBassworked forsomeofHollywood’smostprominent filmmakers,includingAlfredHitchcock,Otto Preminger,BillyWilder,StanleyKubrickand MartinScorsese.Amonghismostfamous titlesequencesaretheanimatedpapercutoutofaheroinaddict’sarmforPreminger’s TheManwiththeGoldenArm,thecredits racingupanddownwhateventuallybecomesahigh-angleshotofaskyscraperin Hitchcock’sNorthbyNorthwest,andthe disjointedtextthatracestogetherandapart in Psycho.
Title Sequences
Movie Posters
Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for The Man with the Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist’s struggle with heroin addiction
Inspired by Saul Bass Typefaces
Modern Title Sequences
Saul Bass Museum Of Contemporary Typography
Saul Bass
A Typographi-
Type is everywhere – street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place.
TERMINOLOGY EXPLAINED What’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used. Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font. Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:
HISTORICAL
TIME-
1400
Jenson
1470 1501 1734
A
Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.
Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.
Italics begin to be used as way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing.
William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.
1757
John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.
1780
Firmin Didot and Giambattista Bodoni created the first ‘modern’ Roman typefaces (Didot, and Bodoni). The contrasts were more extreme than ever before, and created a very cool, fresh look.
1815
Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.
1816
William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces. During this time, type exploded, and many, many variations were being created to accommodate advertising.
1920’s
Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.
1957
1957: Swiss designer Max Miedinger created Helvetica, the most loved typeface of our time. This was a return to minimalism, and many other simplistic typefaces such as Futura surfaced around this time period.
NOW
Present: With the internet, we have such a vast variety of old and new typefaces available for us to peruse and use. All these typefaces give us an abundance of options and looks for our designs today, and we’re not limited by just one or two typefaces like we would have been a few hundred years ago.
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Museum of
Contemporary Typography Cappuccino, grounds id, aftertaste chicory, strong ut dripper latte single shot. Rich mug aroma black grounds single shot seasonal. Variety strong to go steamed aftertaste single shot french press. Instant turkish café au lait frappuccino redeye pumpkin spice milk. e single shot french press. Instant turkish café au lait frappuccino redeye pumpkin spice milk.e single shot french press. Instant turkish café au lait.
Colophon/ About T Doublebass Hitchcock Antonio Gill Sans Grenadier NF Helvetica
Design by: Anastasia White
This Brochure
The presence of typography both good and bad, can be seen everywhere. By: Angela Author
Typography
courier bold
hitchcock
abolition
double bass
aviano didone
gill sans
caslon
grenadier NF
avenir
Helvetica
herculanum
futura
adobe arabic
superclarendon
vertigon
Futura