Ashley delaney sp

TYPOGRAPHIC PORTFOLIO an exploration of the history, usage, and terminology of type as used in the graphic arts

FALL 2015 Ashley V. Delaney

From Brooklyn, New York. Ok, bye.

TABLE OF CONTENTS

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LOGO DESIGN CHARACTER STUDIES CALENDAR POSTER DESIGN UBIQUITOUS TYPE SKETCH BOOK pop!

TYPOGRAPHIC TERMS

LOGO DESIGN

CHARACTER STUDIES

A A

Character Studies | The Letter A

THE LETTER A The earliest certain ancestor of “A” is aleph, the first letter of the Phoenician alphabet - which consisted entirely of consonants, thereby being an abjad rather than a true alphabet. In turn, the origin of aleph may have been a pictogram of an ox head in proto-Sinaitic script influenced by Egyptian hieroglyphs, styled as a triangular head with two horns extended.

In 1600 B.C.E., the Phoenician alphabet’s letter had a linear form that served as the base for some later forms. Its name must have corresponded closely to the Hebrew or Arabic aleph.

ISKRA Iskra (meaning spark or flash) is an unique sans serif designed by Tom Grace to challenge the limits between utilitarian and decorative type. Sporting a low-contrast profile, it is a study of bridled energy in the Cyrillic and Latin scripts. Iskra’s eye-catching forms contain daring and elegant curves, economical proportions, a slightly top-heavy asymmetry, and are an oblique tribute to the less predictable style of brush lettering. Its warmth comes from the subtle emphasis on the structures and details of individual letterforms, whereas its predictability is demonstrated through its balanced rhythm over long spans of text.

Character Studies | The Letter G

G

g

The letter ‘G’ was introduced in the Old Latin period as a variant of ‘C’ to distinguish voiced from voiceless k. The recorded originator of ‘G’ is freedman Spurius Carvilius Ruga, the first Roman to open a fee-paying school, who taught around 230 BC. At this time, ‘K’ had fallen out of favor, and ‘C’, which had formerly represented both and k before open vowels, had come to express k in all environments. Single story or double story variants are for the lowercase.

Lust the series unapologetically channels Herb Lubalin, but produced with a deliberate, contemporary twist. There is an intentional slyness infused in the letterforms the extreme thick and thin lines flow effortlessly without becoming gratuitous. What makes the type series so appealing?

The curves. Intended to be set large, the typeface has both Standard and Display variants making it perfect for editorial andsolution for any display need.

Character Studies | The Letter O

O

Kohinoor Devanagari Kohinoor Devanagari is an elegant low contrast typeface family suitable for both body and display text. Kohinoor Devanagari comes in 5 upright styles with full support for the conjuncts and ligatures.

O

The letter “O” Its graphic form has remained fairly constant from Phoenician times until today. The name of the Phoenician letter was eyn, meaning “eye”, and indeed its shape originates simply as a drawing of a human eye - possibly inspired by the corresponding Egyptian hieroglyph, c.f. ProtoSinaitic script. Its original sound value was that of a consonant, probably, the sound represented by the cognate Arabic letter ayn.

Z

Character Studies | The Letter Z

ZAPFINO

Zapfino is a calligraphic typeface designed for Linotype by typeface designer Hermann Zapf in 1998. It is based on an alphabet Zapf originally penned in 1944.

THE LETTER Z

In earlier times, the English alphabets used by children terminated not with Z but with & or related typographic symbols.In her 1859 novel Adam Bede, George Eliot refers to

Z being followed by & when her character Jacob Storey says,

“He thought it had only been put to finish off th’ alphabet like; though ampusand would ha’ done as well, for what he could see.”

CALENDAR

JANUARY 2016

New Beginnings SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

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JANUARY 2016

New Beginnings SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

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POSTER DESIGN

Type

The prescence of good typography

One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different,6 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.

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.

both good and bad, can be seen everywhere.

Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and direction.

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- travelled 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 individu- ally 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.

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 large5ly 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.

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.

Ubiquitous Type

SKETCH BOOK

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TYPOGRAPHIC TERMS

TYPOGRAPHIC TERMS Ornate Complex patterns or shapes and designs that are embellished.

Handwriting

Handwriting is a person’s writing that is created ususally using a writing tool such as a pencil, pen, or marker. Handwriting includes print, and cursive; but differs from calligraphy.

Verveine

ART NOUVEAU Art Nouveau was an artistic movement after the Victorian era in the late 1800s. It is a mix of philosophy, art, and the type used was stylistic, and based off of nature and and architecture. It is a decorative tyoe and was commonly used for poster art.

Art Nouveau Caps

grunge Grunge came alive during the 80s and 90s, is bold, black, heavy, and messy almost relating to grafiti or spray painted lettering.

The grunge style expressed feeling and an in-your-face attitude.

Baron Kuffner

Inline them.

Inline fonts are generally black fonts with a white line inside of

Lagniappe Inline NF

Blackletter

Blackletter is also known as Gothic Script, and was very popular in France, Germany, and other European countries during the 15th -17th Centuries.

Givry

Stencil

Stencil is most widely used as a military font,and it orginiated out of two type faces. Both of the fonts are capital letters only, and resemble Clarendon type. The letters break to give the stencil look.

Clarendon Wide Stencil

Art Deco Art Deco was a favorite in France before the war in the early 1900s. The style is unique, especially during this time, where geometric circles and bright colors symbolised a sense of hierarchy in France before their downfall after the war.

Ardeco

RETRO Retro imitates trends, music, fashion, and is ever changing with the times. Retro can be a throwback to any time period, in whch you can determine the time period depending on the style of the type.

Grenadier NF

Shadowed itates trends, music, fashion, and is ever changing with the times. Retro can be a throwback to any ti

Brush

Sh\dowe

Complex patterns or shapes and designs that are embellished.

Complex patterns or shapes and designs that are embellished.

Decorative

Wood Cut

Complex patterns or shapes and designs that are embellished.

Complex patterns or shapes and designs that are embellished.

Engraved

Calligraphy

Complex patterns or shapes and designs that are embellished.

Complex patterns or shapes and designs that are embellished.

FONTS USED Alternate Gothic No2 Avenir Next Futura Helvetica Neue Iskra Kohinoor Devanagari Lust Minion Pro Phosphate Seravek Superclarendon Times Zapfino