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INTRO Hi!
My name is Ashlyn Killham and my dream is to be a Graphic Designer. I specifically want to work with musical artists and bands to create memorable and interesting merchandise including posters and t shirts. I love music and seeing shows. One of my favorite parts of the show is going to the merch table and I usually leave with at least a poster. So there you have it. I finally found my passion, It only took 23 years to find it.
Ashlyn Killham
TABLE OF
CONTENTS Fonts Used
pg 6
Typographical
pg 9
Character Study
pg 10-19
Logos
pg 21
Terms
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Ubiquitous Type
pg 22-23
Sketchbook
pg 24-25
Lyric Poster
pg 27
Momt Poster
pg 29
Pop!
pg 28-36
FONTS USED
CF HISTORIA Marion Escafina FUTURA Baskerville KG Always A Good Time
Gotham PAGE 6 PORTFOLIO SUMER 2016
TYPOGRAPHICAL TERMS
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Typographical Terms Illustrated Grotesque Grotesque is frequently used as a synonym with sans serif. At other times, it is used (along with “Neo-Grotesque”, “Humanist”, “Lineal”, and “Geometric”) to describe a particular style or subset of sans-serif typefaces. The first sans-serif typeface called grotesque was also the first sans-serif typeface containing actual lowercase letters.
Blackletter
Cursive Display
Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. A display typeface is designed for the use of type at large sizes, perhaps 30 points or larger. The misuse of the term display typeface as a synonym for ornamental type has become widespread; properly speaking, ornamental typefaces are a subcategory of display typefaces.
Blackletter typefaces, sometimes referred to as Gothic or Old English, are characterized by a dense black texture and highly decorated caps. The lowercase Swash (typography) A swash is a consists of narrow, angular forms with dramatic thick-to-thin strokes and serifs. typographical flourish, such as an exaggerated serif, terminal, tail, entry They are highly stylized, yet legible. stroke, etc., on a glyph.
S wash
D
rop Cap
Distressed Distressed - also called rough or grunge style - text looks as if it has been weathered, eroded, crumpled up, torn, smudged, overly copied, or in some other way physically stressed or aged. Originally, this style developed when designers would literally perform those physical actions on the text, but overtime, many fonts have been developed to mimic that look.
Reversed Reversing type – that is, placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eyecatching point of entry, signaling the viewer to “look here” before moving on to the other elements.
Calligraphy Calligraphy is fancy penmanship, especially highly decorative handwriting, as with a great many flourishes.
A drop cap is the first letter of a paragraph that’s of a much bigger size than the rest that follow. The letter formatting is such that the letter “˜drops down’ to cover the few lines following the first one.
Wood Type Originally, a font was a collection of pieces of wood or metal type. They were a specific size and, therefore, could only print one size character. Modern typesetting technology can reproduce almost any size character from one digital font. Therefore, the terms font and typeface, while distinct from one another, are often used interchangeably.
Cursive, also known as longhand, script, handwriting, looped writing, joinedup writing, joint writing, or running writing is any style of penmanship in which the symbols of the language are written in a conjoined and/or 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”.
A thin stroke usually common to serif typefaces. Definition: In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths. Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device.
Slab Serif
☛ Dingbat Dingbats are not part of the text. A dingbat, sometimes more formally known as a printer’s ornament or printer’s character, is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames.
Oblique A sloped typeface (or describing a sloped typeface) with a design that usually retains the basic roman letterforms, often serving as a companion version of a roman typeface. Often used with sans serif designs and usually not sloped as much as a true italic. Usually slopes to the right.
In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, blocklike serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier).
Tracking In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning.
Serif Kerning In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.
Geometric Simple geometric shapes influence the construction of these typefaces. Strokes have the appearance of being strict monolines and character shapes are made up of geometric forms. Geometric sans tend to be less readable than grotesques.
Hairline Rule
Didone Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: Narrow and unbracketed (hairline) serifs. (The serifs have a constant width along their length.) Vertical orientation of weight axes.
In typography, a serif is the little extra stroke found at the end of main vertical and horizontal strokes of some letterforms. Serifs fall into various groups and can be generally described as hairline (hair), square (slab), or wedge and are either bracketed or unbracketed.
Decorative Decorative and display fonts became popular in the 19th century and were used extensively on posters and advertisements. This style of type and lettering could be artistic and eye-catching in a way that wasn’t considered previously. William Morris launched the Arts and Crafts movement and as part of the experimentation and innovation of the time, developed the Troy typeface.
CHARACTER STUDY | The Letter Q |
F
or as long as there have been Qs, designers have been having fun with the letter’s tail. This opportunity for typographic playfulness may even date back to the Phoenicians: the original ancestor of our Q was called “ooph,” the Phoenician word for monkey. The ooph represented an emphatic guttural sound not found in English, or in any Indo-European language. Most historians believe that the ooph, which also went by the name “gogh,” originated in the Phoenician language, with no lineage to previous written forms. Historians also believe that the character’s shape depicted the back view of a person’s head, with the tail representing the neck or throat. It’s possible, but if you consider that the letter’s name meant monkey, then perhaps the round part of the symbol represents another kind of backside, and the tail of what became our Q may have started out as, well, a tail. The Greeks adopted the ooph, but found it difficult to pronounce, and changed it slightly to “koppa.” The Greeks also modified the design by stopping the vertical stroke, or tail, at the outside of the circle. The koppa, however, represented virtually the same sound as “kappa,” another Greek letter. One of them had to go, and koppa was ultimately the loser, perhaps because it had begun to look much like another Greek letter, the P. Unlike the Greeks, the Etruscans could live with the somewhat redundant nature of the koppa, and continued to use the letter. In fact, they had two other k-sound letters to contend with. The Romans elected to use all three signs when they adopted much of the Etruscan alphabet. The first Roman Q had the Etruscan vertical tail, but over time it evolved into the graceful curved shape that cradles the U which usually follows it.
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Baskerville Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface. Baskerville is categorized as a transitional typeface in-between classical typefaces and the high contrast modern faces. At the time that John Baskerville decided to switch from owning a japanning business to a type foundry, Phillipe Grandjean’s exclusive Romain du Roi for Louis XIV had circulated and been copied in Europe. The mathematicallydrawn characters felt cold, and prompted Baskerville to create a softer typeface with rounded bracketed serifs and a vertical axis.
CHARACTER STUDY | 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.)
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. The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for 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 400 BC, it looked more like our modern ‘k’ than an ‘A’. The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today. The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language. The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter.
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In the late eighteenth century the style that is now known as Didot was perfected, and became forever associated with two typographic giants: in Parma, Giambattista Bodoni (1740-1813), and in Paris, Firmin Didot (1764-1836). Didot was a member of the Parisian dynasty that dominated French typefounding for two centuries. French typographer,who was the first to cast a type bearing the engraved characteristics of the modern classification of todays Didot. Today Didot is frequently found in fashion magazines. Harper’s Bazaar would become a milestone in fashion publishing, its typeface singled out by the American Society of Magazine Editors (ASME) as part of “one of the most dramatic magazine reinventions in history.” The HTF Didot typefaces continue to be a major part of the most fashionable brands, including Bazaar itself — a testament to the flexibility and durability of the style.
CHARACTER STUDY | The Letter G |
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 upsidedown V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upside-down V looked like the hump of a camel. The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At 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, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians. 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.’ The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered superfluous for the writing of Latin. The ousted Z took its place at the end of the line.
PAGE 14 PORTFOLIO SUMER 2016
Helenic
CHARACTER STUDY | Ampersands |
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.
Etymology 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! Today, however, the ampersand has relatively limited uses. The Chicago Manual of Style doesn’t even address ampersands, except to say that it’s OK to spell them out at your own discretion, and the Associated Press Stylebook explicitly bans the ampersand from anything but a proper name or an abbreviation like “B&B” for “bed and breakfast.” While playing fast and loose with ampersands isn’t a good idea, and client guidelines should always be respected, there are times when a little ampersand creativity can produce excellent typographic results. The following are a few guidelines and suggestions for getting a little more from this special character.
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ITC Bauhaus was designed by Edward Benguiat and Victor Caruso based on the prototype created by Herbert Bayer of the Dessau Bauhaus in 1925. The simple geometric forms and even strokes give the font a clean and distinctive look. ITC Bauhaus is available in five weights, light, medium, demi, bold and heavy.
CHARACTER STUDY | The Letter O|
S
ome believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the Alphabet was Made” recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds. After finishing the A and Y (inspired by the mouth and tail of a carp), the child, Taffy, asks her father to make another sound that she can translate into a picture. ‘Now make another noise, daddy.’ ‘Oh!’ said her Daddy, very loud. ‘That’s quite easy,‘ said Taffy. ’You make your mouth all around like an egg or a stone. So an egg or a stone will do for that.’ ‘You can’t always find eggs or stones. We’ll have to scratch a round something like one.’ And he drew this.
The father’s sketch of the first O would serve perfectly well today, since round remains the defining property of the letter. Actually, the O did start out as a drawing of something, but not an egg or a stone, or even a mouth. The true ancestor of our O was probably the symbol for an eye, complete with a center dot for the pupil. The symbol for eye, “ayin” (pronounced “eye-in”) appears among the Phoenician and other Semitic languages around 1000 B.C. The Greeks adapted the ayin to their communication system and used it to represent the short vowel sound of ‘o.’ The Greeks also changed the name of the letter to Omicron. (The Omega is another Greek O, which they invented to represent the long ‘o’ sound.) While the Phoenicians and the Greeks drew the letter as a true, nearly perfect circle, the Romans condensed the shape slightly to be more in keeping with their other monumental capitals.
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Cooper Std Black
Cooper Black is a heavily weighted, old style serif typeface designed by Oswald Bruce Cooper in 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style. Though not based on a single historic model it exhibits influences of Art Nouveau, Art Deco, and the Machine Age. Cooper Black is a heavier version of Cooper Old Style which enjoyed particular popularity in the 1920s and 1930s, and also became somewhat iconic of the 1970s. Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919. The Cooper family was the work of Oswald Bruce Cooper, co-owner of the Bertsch & Cooper design firm in Chicago. Cooper Black was first released by the Barnhart Brothers & Spindler foundry of Chicago in 1922. Oz Cooper was fond of saying that the Black fit the needs of “far-sighted printers with near-sighted customers.” Cooper Black set a trend in ad types which prompted such designers as Fred Goudy (one of Cooper’s early teachers) to follow suit with their own black faces (compare Goudy Heavyface).
LOGOS
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Ubiquitous The presence of typography both good and bad, can be seen everywhere.
T
Type
ypography makes is blocked if the way back at least two kinds to earlier discoveries is cut of sense, if it makes or overgrown. If you use any sense at all. this book as a guide, by all It makes visual sense and means leave the road when historical sense. The visual you wish. That is precisely side of typography is always the use of a road: to reach on display, and materials for individu- ally chosen the study of its visual form points of departure. By all are many and widespread. means break the rules, and The history of letter- forms break them beautifully, and their usage is visible deliberately, and well. That too, to those with access to is one of the ends for which manuscripts, inscriptions and they exist. old books, but from others it is Writing systems vary, but largely hidden. a good page is not hard to This book has therefore learn to recognize, whether grown into something more it comesfrom Tang Dynasty “Typography is the craft of than a short manual of China, The Egyptian New endowing human language with a typographic etiquette. It is the Kingdom typographers set durable visual form, and thus with fruit of a lot of long walks in for themselves than with the wilderness of letters: in the mutable or Renaissance an independent existence.” part a pocket field guide to the Italy. The principles that living wonders that are found unite these distant schools there, and in part a meditation of design are based on the on the ecological principles, survival techniques, and structure and scale of the human body - the eye, ethics that apply. The principles of typography as I the hand, and the forearm in particular - and on understand them are not a set of dead conventions the invisible but no less real, no less demanding, no but the tribal customs of the magic forest, where less sensuous anatomy of the human mind. I don’t ancient voices speak from all directions and new ones like to call these principles universals, because they move to unremembered forms. are largely unique to our species. Dogs and ants, for One question, nevertheless, has been often in example, read and write by more chemical means. my mind. When all right-thinking human beings But the underlying principles of typography are, at are struggling to remember that other men and any rate, stable enough to weather any number of women are free to be different, and free to become human fashions and fads. Typography is the craft more different still, how can one honestly write a of endowing human language with a durable visual rulebook? What reason and authority exist for these form, and thus with an independent existence. Its commandments, suggestions, and instructions? heartwood is calligraphy - the dance, on a tiny stage, Surely typographers, like others, ought to be at liberty of to follow or to blaze the trails they choose. It is true that typographer’s tools are presently Typography thrives as a shared concern - and changing with considerable force and speed, but there are no paths at all where there are no shared this is not a manual in the use of any particular desires and directions. A typographer determined typesetting system or medium. I suppose that most to forge new routes must move, like other solitary readers of this book will set most of their type travellers, through uninhabited country and against in digital form, using computers, but I have no the grain of the land, crossing common thoroughfares preconceptions about which brands of computers, or in the silence before dawn. The subject of this book is which versions of which proprietary software, they not typographic solitude, but the old, well- travelled may use. The essential elements of style have more roads at the core of the tradition: paths that each to do with the goals the living, speaking hand - and of us is free to follow or not, and to enter and leave its roots reach into living soil, though its branches when we choose - if only we know the paths are there may be hung each year with new machines. So long and have a sense of where they lead.That freedom as the root lives, typography remains a source of true is denied us if the tradition is concealed or left for PAGE 22 delight, true knowledge, true surprise. dead. Originality is everywhere, but much originality
PORTFOLIO SUMER 2016
Whole Foods Downtown
Grand Hope Park
Whole Foods Downtown
Whole Foods Downtown
Hopdoddy burger bar
FIDM Museum & Galleries
Museum of Neon Art
We Work
Whole Foods Downtown
Whole Foods Downtown
Chipotle Downtown
The New Yorker Magazine
SKETCHBOOK
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SKETCHBOOK
LYRIC POSTER
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Feel like a BRAND NEW (But you make the SAME old mistakes)
I don’t care care care care (Stop before it’s too late)
Feel like a BRAND NEW (But you make the SAME old mistakes)
I f i n a l l y kn
o w wh a
e v o l t is
(You don’t have what it takes) (Stop before it’s not too late)
(I know there’s too much at stake)
(Making the same mistakes)
SAME SAME OLD OLD MISTAKES MISTAKES
MOMT POSTER
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Museum of Modern
Typography
P R E S E N T S
FUTURA D E S I G N E D
I N
1 9 2 7
B Y
P A U L
R E N N E R
OCTOBER 2 - NOVEMBER 27, 2016
Contrary to popular thinking, the Futura® typeface was neither conceived at Germany’s Bauhaus nor decreed as the quintessence of the design school’s teaching.Paul Renner, Futura’s designer, had no Bauhaus affiliation, although his original sketches embodied the ideologies of the Bauhaus movement. His work was translated into fonts of metal type by The Bauer Type Foundry of Frankfurt, which made considerable changes to his Futura. The end result was a melding of Renner’s philosophy with proven typeface design precepts.
MOMT. c o m 2 5 0 S G r a n d A v e , L o s A n g e l e s , C A 9 0 0 1 2
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WEEK 1 PAGE 30 PORTFOLIO SUMER 2016
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WEEK 3 PAGE 32 PORTFOLIO SUMER 2016
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WEEK 5 PAGE 34 PORTFOLIO SUMER 2016
pop!
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WEEK 6
visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara visual project issue one volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara
WEEK 7 PAGE 36 PORTFOLIO SUMER 2016
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larry rivers andy warhol frank o’hara ro y l i c h te n s te i n jasper johns
WEEK 9 PAGE 38 PORTFOLIO SUMER 2016