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portfolio FA S H I O N I N STIT U TE OF DESIGN & MERCHANDISING AVALON vandruff spring 2018 GRAPHIC DESIGN

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T Y P ogra PORTFOLIO

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aphy PORTFOLIO

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CHARACTER STUDIES

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 langu ages 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.

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The ITC Zapf Chancery® typeface has been seen by just about everyone who uses a personal computer. In particular, one member of the family – Medium Italic – has been selected (or not) by millions of designers and non-designers alike. In the mid-’80s, ITC Zapf

Chancery Medium Italic was chosen as one of the original Apple LaserWriter core font set. Years later, it became part of both the Mac and Windows OS. It has become one of the most commonly used – and one of the most widely misused – typefaces of our day.

Apple Chancery Apple Chancer

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CHARACTER

ST U D I E S

W

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Th e f i r st ( a n d a d m i t t e d ly t h e l e s s l i k e ly ) o f t h e t w o s t o r i e s s ta r t s w h e r e m o s t t h i n g s i n e v i ta b ly s ta r t : i n R o m e . T h e s t o r y g o e s t h at t h e q u e s t i o n m a r k a c t u a l ly o r i g i n at e d f r o m t h e L at i n w o r d q va e s t i o , m e a n i n g q u e s t i o n .

T h i s w o r d wa s r e p o r t e d ly a b b r e v i at e d i n t h e M i d d l e A g e s by s c h o l a r s a s j u s t q o . E v e n t u a l ly , a c a p i ta l “ Q ” wa s w r i t t e n o v e r t h e “ o ” , a n d i t fo r m e d o n e lette r . Th e n , it m o r p h e d i nto th e m o d e r n qu e sti o n m a r k w e k n o w t o d ay . H e r e ’ s a p i c t u r e s o y o u c a n visualize it.

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CHARACTER STUDIES In its earliest years, the letter that evolved into our F was an Egyptian hieroglyph that literally was a picture of a snake. This was around 3,000 B.C. Through the process of simplification over many years, the F began to lose its snakelike character, and by the time it emerged as an Egyptian hieratic form it wasn’t much more than a vertical stroke capped by a small crossbar. With a slight stretch of the imagination, it could be said to look like a nail.

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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.

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AVALON VANDRUFF GRAPHIC DESIGN

avalo n van druff graph ic design

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AV Design Studio 1234 West Broadway Los Angeles, California 92018

FIDM Fashion Institute of Design & Merchandising 919 S Grand Ave Los Angeles, California 90015

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avalon vandruff avalonvnicole@gmail.com 714 746 0018

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714.746.0018

714.746.0018

avalonvnicole@gmail.com

avalonvnicole@gmail.com

AV Design Studio

AV Design Studio 1234 West Broadway 1234 West Broadway Los Angeles, California Los Angeles, California 92018 92018

avalonnicole.com

avalonnicole.com

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The presence of typography both good and bad, can be seen everywhere.

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 some-thing more than a short manual of typo-graphic 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

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

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.

One question, nevertheless, has been often in my mind. When all right-thinking human beings dawn. The subject of this book is are struggling to remember that not typographic solitude, but the old, other men and women are free to well- travelled roads at the core of PORTFOLIO 40 SPRING

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

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

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

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.“ 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

and New York, still lively, considerable force and speed, subtle, and perfectly legible but this is not a manual in thirty centuries after they were the use of any particular made. typesetting system or Writing medium. I suppose systems that most readers vary, but a of this book will set good page most of their type in is not hard digital form, using to learn to computers, but I have recognize, no preconceptions whether it about which brands of leave the road when you wish. comes computers, or which versions That is pre- cisely the use of from Tang Dynasty of which proprietary software, a road: to reach individu- ally China, The Egyptian New they may use. The essential chosen points of departure.

Kingdom typographers set elements of style have more By all means break the rules, for themselves than with the to do with the goals the living, and break them beautifully, mutable or Renaissance Italy. speaking hand - and its roots deliberately, and well. That The principles that unite these is one of distant schools of the ends for design are based which they on the structure and exist. scale of the human Letterforms body - the eye, change the hand, and the constantly, forearm in particular yet differ very - and on the invisible reach into living soil, though little, because they are alive. but no less real, no less its branches may be hung The principles of typographic demanding, no less sensuous each year with new machines. clarity have also scarcely anatomy of the human mind.

So long as the root lives, altered since the second half I don’t like to call these typography remains a source of the fifteenth century, when principles universals, because of true delight, true knowledge, the first books were printed they are largely unique to our true surprise.

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TYPOgra CURSIVE

cursive

DISPLAY DISPLAY

a style of writing where all of the characters are connected. It can also be known as script or longhand.

an element in graphic design where there is less concern about readability and more about design elements of the type. Designed for type between 16-72 pts.

SWASH

DROP CAP

a flourish on a glyph, like an exaggerted serif. Capital swash characters were used to begin sentences.

a document style in which the first capital letter of a paragraph is set in a larger point size and aligned with the top of the first line,

BLACKLETTER Blackletter typeface that is very popular for its dramatic thin and thick strokes, and in some fonts, dramatic swirls on the serifs.

GROTESQUE

Hello.

used as a synonym with sans serif. First type of font to contain lowercase letters.

TRACKING tracking also called letter spacing, this refers to the amount of space between a group of letters.

Tracking will help elinimate widows and orphans.

SLAB SERIF Slab Serif

characterizted by thick, block like serifs. Slab serif typefaces generallty have no bracket.

BULLET •••••

symbol or glyph used to introduce items in a list. They can come in a variety of shapes and sizes.

TRANSITIONAL Transitional the bridge between Old Style and Modern serifed typefaces.

It had almost vertical axis and is very wide for their X-height.

KERNING

HANDLETTERING Handlettering Kerning K e r n i n g

process of adjusting the a more specific subset of spacing between characters lettering that refers to the art in a proportional font. Kernof drawing letters specifically ing moves the letters closer by hand and not creating PORTFOLIO 44 together, them in aSPRING digital program.

wwww

TERMS aphical OBLIQUE FRONT FRONT

SERIF

a form of type that slants slightyl to the right, used in the same manner as italic type.

Oblique type usually associates with san-serif type faces.

12 PT. RULE a aa a a a a a

a

semi-structrural details on the end of some of the strkoes that make up letters and symbols.

GLYPH

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HAIRLINE RULE

unit of measure also used to describe the size of the font. A point is equal to 1/72 inches.

a letter, numeral, or symbol; groups of glyphs together are called fonts. One or more fonts sharing particular design features make up a family.

the thinnest stroke found in a specific typeface that consists of stokes of varying widths, It is the thinnest graphic rule.

DISTRESSED

REVERSED Reversed

CALLIGRAPHY

LIGATURE

DINGBAT

Distressed

type of effect placed on a typeface. Some replicate tha irregular contours of brush strokes and other writing implements.

WOOD TYPE

WOOD TYPE

refers to text that had a light color on a darker background, but it does not have to be white type. It is often used to emphasize type.

Calligraphy comes from two Greek words; “beauty” and “to write” It is the art of producing decorative handwriting or lettering with a pen or brush.

Slab Serif

an ornament, character, or made of wood, generally two or more letters comspacer used in typsetting of cherry, can be any sort bined into one character. sometimes more formally of size. There are many Other ligatures are primarily known as the printers character. shapes and designs within to make more attractive on PORTFOLIO 45 SPRING this typeface. a page.

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The boundary between the past and the future, or the divide between traditional and revolutionary can be found in many forms of Koichi Sato’s work. Influenced by his scientific understanding, which he acquired in the 1950s, and his interest in the haiku poetry of music and theater, this master has conquered a dichotomy within himself by expressing it on paper.

Sato’s work often combines a tight line with gradation, or images of space, with the scribblings of man. He is a logician with a poet’s desire to reach within. He is also a technical genius with a legendary interest and understanding of the methods of his trade.

Graphic Designer Sato Koichi was born in Takasaki city, Japan, in 1944, one year before the end of the Second Great War. Sato Koichi enjoyed his career as a free-lancer designer from 1971 after a period he worked for Shiseido Co., Ltd (Masanori U., 2008).

He made his graduation from the Department of Industrial Arts, which can be considered as a Design Department, and the Tokyo National of Fine Arts and Music.

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What’s going on around campus?

April 23 - May 4

Phi Theta Kappa Hosts:

DIY AIR PLANTS We’re celebrating Earth Month! Add more greenery to your apartment by decorating your own plant pottery to take home with you. Supplies will be provided.

Tuesday, April 24 11:15 a.m. - 12:00 p.m.

Student Lounge Patio

Phi Theta Kappa Social:

SELF DEFENSE CLASS Join PTK for this safety workshop led

by Peace Over Violence. Empowerment self-defense is a set of awareness, assertiveness, verbal confrontation skills, safety strategies, and physical techniques.

These enable one to successfully prevent, escape, resist, and survive violent assaults.

Sign up in Room 425.

Friday, April 27 11:15 a.m. - 12:00 p.m.

Room 500

Phi Theta Kappa Hosts:

GIRIL POWER DAY

Ladies! Let’s have a serious (and fun) chat about our bodies. Remove the stigma that comes with being a woman. Embrace your femininity and feel empowered with PTK. Who runs the world?!

Student Council Hosts:

CONFIDENCE WORKSHOP

You got what it takes, you just haven’t realized it yet. Learn impactful ways to let your confidence speak for you. Whether your’e asking someone out on a date, going to an interview, networking or asking for a raise, confidence is key.

FIDM MODETM Magazine Hosts:

A LOOK BEHIND THE MAGAZINE

Interested in learning what it takes to put a magazine together? Join FIDM MODETM Magazine for our first photoshoot of the quarter, a make-over!

Thursday. April 26 10:30 a.m. - 12:00 p.m.

Room 425

Wednesday, May 2 11:15 a.m. - 12:00 p.m.

Room 425 Student Lounge Patio

The Industry Club Welcomes:

FIDM MODE™ Magazine:

FIDM TOTE BAG CHALLENGE

Here’s your chance to showcase your talent. MODE is looking for fun and creative designed FIDM Tote Bags to feature in their upcoming issue. Take the classic FIDM Tote and transform it with fabric, paint, patches, beads, rhinestones or anything that inspires you. 10 lucky winning designs will get chosen! Stop by Student Activities, Room 425 for more details to apply.

Sketches are due May 3.

Contest ends May 25.

Student Lounge Patio

DENIM DAY Wear denim with a purpose, support survivors, and educate yourself and others about sexual assualt and rape!

Sign our pledge to support survivors. #endrapeculture

CELEBRITY FASHION DESIGNER

Intrested in being a fashion designer and entreprenuer? Hear from celebrity designer, Walter Mendez, whose creations have been featured on celebrities like Beyonce, Britney Spears, Selena Gomez, Mel B, Jennifer Lopez, Camila Cabello and more.

Tuesday, April 24 2:45 p.m. - 3:30 p.m.

Room 425

The Industry Club Hosts:

PINKIES UP: Email Ettiquette Workshop

Lost for words when you have to send a professional email? No worries, we got you!

Join us for tea time and learn the unwritten rules of email etiquette to make the best impressions.

Tuesday, May 1 Wednesday, April 25 11:15 a.m. - 12:00 p.m.

ALL DAY Room 425 56 PORTFOLIO

Tuesday, May 1 2:45 p.m. - 3:30 p.m.

Room 425 SPRING Student Lounge Patio

Phi Theta Kappa Volunteers At:

SPECIAL OLYMPICS

WELCOME BACK POOL PARTY

Do you have a lot of energy & high spirit?

Then join our Phi Theta Kappa girls as they cheer on the athletes of the 2015 Special Three words: Fun, friends, & food. Need we Olympics! Having supportive fans creates an say more? RSVP Required in Room 425 by Thursday, October 12. encouraging atmosphere that the athletes crave in order to excel in competition. Help us fill the stands and Saturday, October 15 create that excitement!

3:00 p.m. - 5:30 p.m.

Cross Cultural Student Alliance Social:

A TRIP TO NORTON SIMON MUSEUM

Take a trip with the CCSA Club as they tour the Norton Simon Museum in Pasadena. The museum holds a large collection of European paintings and sculptures ranging from artists like, Van Gogh and Picasso.

Car-pool is available but limited so sign up early in Room 425.

Saturday, July 25,

FIDM Presents:

STUDENT ORGANIZATIONS Cross-Cultural Student Alliance July 21, 11:15 a.m. in Room 425 Student Council July 22, 11:15 a.m. in Student Lounge Student Veterans of America

FIDM Presents:

BACHELORS PROGRAM US News Education named FIDM among the Highest 4-Year Graduation Rates in the U.S. Transform your creative interests into professional marketability at FIDM. Now enrolling for: Bachelor of Science Degree in Business Management Bachelor of Arts Degree in Design Bachelor of Science Degree in Apparel Technical Design Bachelor of Arts Degree in Interior Design Bachelor of Arts Degree in Graphics Bachelor of Arts Degree in Digital Media Contact Sang Pak, 213-624-1200 x5130, spak@fidm.edu - for more information

BONJOUR PARIS! Let’s visit the city of lights, together! Join a carefully curated insider’s tour of Paris. Spend 16 days exploring, learning, and submerging yourself in French culture.

Come find out how you can be a part of the next Paris trip!

Wednesday, January 18 2:45 p.m. - 3:30 p.m. in Room 425

Friday, January 20 11:15 a.m. - 1:00 p.m. in Pasadena

Not All Hero’s Wear Capes

FIDM BLOOD DRIVE

The Industry Club Hosts:

DRESS FOR SUCCESS WORKSHOP!

All faculty, students, and staff are invited and encouraged to donate to those in need. Sign up in Room 425 or at redcrossblood.org, enter You are what you wear! Learn about proper sponsor code FIDM. attire for interviewing for the workplace. Plus, get advice on how to stand out in group Thursday, August 28 interviews!

10:00 a.m. - 4:00 p.m.

Bloodmobile on Grand Ave. Tuesday, April 18 2:45 pm - 3:30 pm Room 425

PTK & SVA Volunteer at the:

Ronald McDonald House

FBF MIXER:

Trail Mix Mixer Kick-off the Winter 2017 FIDM Best Friend Program with this fun mixer.

Meet your mentor and mingle with all our members as we celebrate the new quarter.

Stop by Student Activities, Room 425 for an FBF application.

Join Phi Theta Kappa & SVA as they volunteer at the Ronald McDonald House in Pasadena for the Meals of Love event.

The Meals of Love program provides volunteers the opportunity to prepare a home cooked meal for children and families staying at the Ronald McDonald House.

Spaces are limited, so sign up by April 20.

Friday, January 13 11:15 a.m. - 12:00 p.m. in Room 425

Friday, April 21 4:30 p.m. - 6:30 p.m.

Sign up required in Room 425!

STUDENT ADVISEMENT Does FIDM have your most current address, phone number, and email address? If not, please go to the Student Advisement office, Rm 401 to update your information. Thank you.

Making Strides Against Breast Cancer Walk Help raise awareness and funds for the fight against Breast Cancer at the American Cancer Society’s Walk. Signup in Student Activities, Room 425

by Friday, October 16. A $5 donation reserves you a spot.

ATTN: All First Year 2nd Quarter Students Have you met with your Student Saturday, October 17 Advisor? If not, you need to schedule your 7:00 a.m. - 10:30 a.m. Meet at the angel appointment in Rm 401 as soon as possistatue on Grand Ave. ble to start planning for your 2nd yr.

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