Fashion Institute of Design & Merchandising
PORTFOLIO THE ART OF TYPOGRAPHY
Andru Gabriel
Spring 2017
INTRODUCTION
T
he dictionary definition of typography is the style, arrangement, or appearance of typeset matter. Typography is much more than just words and how they are set. It has become a science
in this digital age and also doubles as a feeling. To those that do not observe typography many will say there is nothing special but there is beauty in the lines and shapes making type itself art. Any sort of direction or information most likely will come in the form of signage or a paper explaining the subject, therefore any direction or information is typography. One can come to the conclusion that the world is full of typography and can go unnoticed. This portfolio showcases my awareness and studies in the art of TYPOGRAPHY .
The Art of Typography :
2
TABLE OF C Introduction 6 - Fonts Used 8 - Terms Illustrated 10 - Character Studies 11 - A 12 - G 14 - & 16 - @ 18 - Typographer Bio 20 - Logo Design 22 - Ubiquitous Type 2-
The Art of Typography :
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CONTENTS Brochure 24 - Outside 26 - Inside 28 - Sketch Book 32 - Poster Design 34 - pop 34 - 1 路 2 36 - 3 路 4 38 - 5 路 6 40 - 7 路 8 42 - 9 44 - End 24 -
FONTS HELVETICA
HELVETICA NEUE
BODONI AVENIR
FUTURA GEORGIA DIDOT MINION PRO CHUNKFIVE
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S USED LYRIC POETRY FETTEEGYPTIENNE
PARK LANE NF ARBUTUS BOWLORAMA RUSTED PLASTIC CALLIGRAPHY PEN
STREAMSTER
FRAC/TION
They are routinely used in text for measurements and dimensions, recipes, math and science notation. Fractions can be represented in several ways: spelled out, using decimals, by diagonal or slashed fractions.
Hairline Rule
Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device. Hair or hairline is also a type of serif, the minimum thickness for a serif.
E ar ly it a lic t y p e f a c e s t h a t res em ble ha n d w r i t i n g b u t w ith th e let t e rs d i s c o n n e c t e d .
D
rop Cap: A large initial letter
that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.
also called Gothic. A style of handwriting popular in the fifteenth century. Also, the class of typestyles based on this handwriting. The Art of Typography :
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Tracking
Used in digital typography to mean overall letterspacing.
R
aised Cap:
A design style in which the first capital letter of a paragraph is set in a large point size and aligned with the baseline of the first line of text.
Serif
Serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. A typeface that has serifs is called a serif typeface.
Dâ?šNGBâ–˛âœ›
Decorative characters which are not letters, numbers, or mathematical symbols (for example, bullets, squares, stars, etc.) that are used to enhance a text for reports or presentations.
Also called slab and square serif. Typestyle recognizable by its heavy, square serifs.
TERMS
isplay Type Also known as ornamental typefaces. Are used exclusively for decorative purposes and are not suitable for body text.
Type used to atrract attention, usually above 14 points in size.
Didone is characterized by
narrow and unbracketed (hairline) serifs. Vertical orientation of weight axes Horizontal parts of letters are thin in comparison to the vertical parts.
In printing, refers to type that drops out of the background and assumes the color of the paper.
Ligature Two or three characters joined as a single character: Æ, Œ, œ Type made from wood. Formerly used for the larger display sizes more than one ince where the weight of the metal made casting impractical. An em-dash is used to indicate a break in thought — as illustrated in this sentence. It can also be used to separate a thought within a sentence — such as this one — which would then require an em-dash at the beginning and the end of the phrase.
The style (a.k.a. Grunge) is a well-known phenomenon and genre in music, literature and other cultural spheres in the early 90ies. Within typography the trend was also apparent. Ripped means that the look is roughened in various degrees.
Elegant handwriting, or the art of producing such handwriting
I L L U S T R AT E D
CHARACTER STUDIES
A
·
The History of the Letter 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.) Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.
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About this font: Minion Pro Minion is a serifed typeface designed in the “classical tradition.� What makes it so great is its flexibility. There is nothing to dislike about Minion. It’s expertly designed to maximize legibility, and the practical advantages to most designers are immeasurable. In short, the advantage of Minion, specifically Minion Pro, is that it contains more characters (called glyphs) than most other fonts.
CHARACTER STUDIES
·
G
History of the Letter
G
enerally speaking, there are no launch dates for the letters of our alphabet. For the most part they’ve come down to us through an evolutionary process, with shapes that developed
slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C. Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. 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.’
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About this font: Didot
M
odern typefaces, characterized by consistently horizontal stress, flat and unbracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography’s two hundred-year journey away from calligraphy. In the late eighteenth century the style was perfected. Didot was a member of the Parisian dynasty that dominated French typefounding for two centuries, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style. This typeface has many renditions done by many type designers, but the original is still only available in print form.
CHARACTER STUDIES
·
&
History of the Ampersand
T
he letters of the Latin alphabet haven’t changed in eons, and there is limited latitude in how much a designer can modify or embellish the basic shapes. The ampersand, however, is a shinning example of an exception to the rule. It has a well-deserved reputation as being one of the most distinctive and fanciful characters in the alphabet. Rooted in the Latin “et” (meaning “and”), the ampersand is a ligature composed from the letters “e” and “t”. The word “ampersand” itself is an alteration of “et per se and,” which became corrupted to “and per se and”, and finally “ampersand.” The history of the ampersand dates back to 63 B.C.E., and was a commonly used character during the Incunabula. For example, a single page from a book printed by Aldus Manutius in 1499, has over twenty-five ampersands!
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About this font: Georgia
In the mid-1990s, type designer Matthew
Carter gave birth to Georgia and Verdana, two widely used typefaces for screen based media. Commissioned by Microsoft specifically for texts on web pages, both of these typefaces were designed first in bitmaps (to match the pixels of the screen resolutions at the time) and then translated into outline fonts. To make text legible and readable on screen, Carter had meticulously designed these fonts with large x-height, open aperture and generous space.
CHARACTER STUDIES
·
@
The History of the
T
he origin of the symbol itself, one of the most graceful characters on the keyboard, is something of a mystery. One theory is that medieval monks, looking for shortcuts while copying manuscripts, converted the Latin word for “toward”—ad—to “a” with the back part of the “d.” Or the symbol evolved from an abbreviation of “each at”—the “a” being encased by an “e.” The first documented use was in 1536, in a letter by Francesco Lapi, a Florentine merchant, who used @ to denote units of wine called amphorae, which were shipped in large clay jars. The symbol later took on a historic role in commerce. Merchants have long used it to signify “at the rate of”— as in “12 widgets @ $1.” (That the total is $12, not $1, speaks to the symbol’s pivotal importance.) Still, the machine age was not so kind to @. The first typewriters, built in the mid-1800s, didn’t include @. Likewise, @ was not among the symbolic array of the earliest punchcard tabulating systems (first used in collecting and processing the 1890 U.S. census), which were precursors to computer programming.
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About this font: Futura
F
utura was designed by Paul Renner in 1927 and was created as a contribution to the New Frankfurt project. The design is based on the simple geometries that became representative of the Bauhaus style. Renner was not part of Bauhaus but he shared their beliefs regarding fonts as expressions of modernity. Renner rejected the font styles of the past, the grotesques, their narrowness and lack of a consistent system to their weights and shape forms. The design of Futura helped usher in a new Modern age and was emblematic of the era. Futura’s design is based entirely on simple geometric forms — triangles, squares and near-circles. The stroke weight is almost even throughout, except for on letters like the lowercase a. Futura is distinctive for its long ascenders and almost classical Roman capitals — these elements give it its stylish elegance and differentiate it from other geometric san-serifs. Designers and companies over the past century have taken advantage of Futura’s benefits, to iconic effect. And you might recognize the typeface in the logos for Domino’s Pizza and Absolut vodka as well as Volkswagen and IKEA.
TYPOGRAPHER BIOGRAPHY
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MAX
MIEDINGER CREATOR OF
T
he original Helvetica was designed in Switzerland in 1957 by Max Miedinger and Eduard Hoffmann at the Haas type
foundry (Haas’sche Schriftgiesserei). Haas was controlled by the type foundry Stempel, which was in turn controlled by Linotype Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning. The marketing director at Stempel decided to change the name to Helvetica in 1960 to make the font more marketable internationally. Originally it was proposed that the typeface be called Helvetia (Latin for Switzerland), but the designers didn’t want to name it after a country, and so it was called Helvetica instead (which is Latin for Swiss).
Logo D
Personal Logos
Official
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Design
Museum of Modern Typography Logos
Official
Ubiquitous
The presence of typography both good and bad, can be seen everywher
T
ypography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival
techniques, and ethics that apply. The principles o typography as I understand them are not a set of conventions but the tribal customs of the magic fo where ancient voices speak from all directions an ones move to unremembered forms. Typography thrives as a shared concern and t are no paths at all where there are no shared des and directions. A typographer determined to forge routes must move, like other solitary travelers, thr uninhabited country and against the grain of the la crossing common thoroughfares in the silence be dawn. The subject of this book is not typographic solitude, but the old, well- travelled roads at the co
“Typography is the craft of endowing durable visual form, and thus with an
the tradition: paths that each of us is free to follow not, and to enter and leave when we choose - if o know the paths are there and have a sense of wh they lead.That freedom is denied us if the tradition concealed or left for dead. Letterforms change constantly, yet differ very l because they are alive. The principles of typograp clarity have also scarcely altered since the second half of the fifteenth century, when the first books w printed in roman type. Indeed, most of the principl
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re.
Type
of dead orest, nd new
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, there and perfectly legible thirty centuries after they sires were made. e new The principles that unite these distant schools rough of design are based on the structure and scale and, of the human body - the eye, the hand, and the efore forearm in particular - and on the invisible but no less real, no less demanding, no less sensuous ore of anatomy of the human mind. I don’t like to call these principles universals, g human language with a because they are largely unique n independent existence.� to our species. Dogs and ants, for example, read and write by more chemical means. But the w or underlying principles of typography are, at any only we here rate, stable enough to weather any number of human fashions and fads. The essential elements n is of style have more to do with the goals the living, little, speaking hand - and its roots reach into living phic soil, though its branches may be hung each year d with new machines. So long as the root lives, were typography remains a source of true delight, true les knowledge, true surprise.
Brochure an intro..
ndru kind of tired packin’ and unpackin’ - town to town and up and down the dial. You wanna be where you can see our troubles are all the same. You wanna be where everybody knows Your name? Just sit right back and you’ll hear a tale a tale of a fateful trip that started from this tropic port aboard this tiny ship. You wanna be where you can see our troubles are all the same. You wanna be where everybody knows Your name? Its mission - to explore strange new worlds to seek out new life and new civilizations
ANDRU GRAPHIC The Art of Typography : 24
U GABRIEL C DESIGN
ANDRU GABRIEL GRAPHIC DESIGN
A
ndru Design seamlessly combines expertise in brand
strategy, identity, digital, retail, environmental, product and service design to define and connect every aspect of a brand experience. We can start with a single touch point, or address holistic journeys for organizational and consumer brands, with a focus on delivering measurable business growth. Our work is hypothesis-driven, evidence-based and powered by rapid prototyping to help clients test, improve and deliver change to stay ahead of the market.
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Brand
ding
Logo Design
Contact
SKETCH BOOK Pencil Sketches
An original desi clothing compa and I never actu
I N T R
I’m aiming for the moon in this lifetime.
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ign for a ny my friends ually started.
U D E R
If you look close, it’s Harry Potter.
The sketch of a l incorporating tw for the phrase D
Inspired by The Fresh Prince of Bel Air, a huge part of my childhood and an influence in my style.
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There The my
logo I created wo metaphors Dr. Death
was a point in time Walking Dead was y favorite show so I drew a zombie.
Marker Sketches
POSTER DESIGN
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MUSEUM OF MODERN TYPOGRAPHY
presents
MAX MIEDINGER’S
H
e
l
v
e
t
i
AN EXHIBIT
c
June 21 - September 23
1962 Grand Avenue Los Angeles, CA 90015 www.momtLA.com
a
pop
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visual project
issue one
volume seven
in this issue:
andy warhol
roy lichtenstein
jasper johns
frank o’ hara
larry rivers
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2 pop
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andy warhol roy lichtenstein jasper johns frank o’ hara in this issue:
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in this issue: andy warhol roy lichtenstein jasper johns frank o’ hara larry rivers
4
pop visual project
in this issue:
issue one
andy warhol
roy lichtenstein jasper johns
frank o’ hara larry rivers
volume seven
in this issue:
andy warhol
pop roy lichtenstein jasper johns frank o’ hara larry rivers
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5 visual project
issue one
volume seven
6
pop
visual project issue one
volume seven in this issue:
andy warhol roy lichtenstein jasper johns larry rivers frank o’ hara
visual project
andy warhol
roy lichtenstein
issue one
jasper johns
in this issue: frank o’ hara
volume seven
larry rivers
7
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8
visual project
issue one
volume seven
9 visual project
issue one
in this issue:
andy warhol roy lichtenstein jasper johns frank o’ hara larry rivers
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volume seven
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