Caitlin single

PORTFOLIO Spring 2017

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The The Art Art of of Typography Typography

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intro Typography: The organization and manipulation of fonts and type by an artist or graphic designer to improve the aesthetics and communicative abilities of an art piece.

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Table of Contents

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Fonts Used

Brochure

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Typographical Terms

Typographer Bio

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10

Character Studies

Sketchbook

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12

Character Studies

Sketchbook

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14

Character Studies

Sketchbook

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Character Studeis

Poster

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Logo Design

Pop

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Ubiquitous Type

Pop

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Brochure

Pop

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fonts used

2 Baskerville 2 Helvetica Neue 2 Stencil 1935 2 Gothicville 2 Zapfino 2 Didot 2 Zapf Dingbats

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D

rop Cap

A drop cap is a large capital letter at the beginning or a paragraph or text block that has the depth of several lines of text.

Egyptian Font In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.

Cursive Black letter also called Gotchic, a style of handwriting. Popular in the 15th century

Serif

Trac k i n g I n typogr a phy, le tte r- s p a cing, usua lly c a lle d tr a c k in g by typogr a phe r s, r e f e r s to a c onsiste nt de gr e e o f in c r e a s e ( or some time s dec r e a s e ) of spa c e be twe e n le tte r s to a ff e c t de nsity in a lin e o r bloc k of te xt. Le tte r- s p a c in g

Decorative

In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface. A typeface without serifs is called sans-serif or sans serif, from the French sans, meaning “without�

Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type.

Blackletter

DISPLAY TYPE

Also known as gothic font, similar to fonts used in 1150 in Western Europe.

Large or eye-catching type used for headings or advertisements.

Wood Type

Distressed

Reversed

Text with the appareance of woodblock texture.

Distressed type takes on the apparence of text with wear or damage.

Reversed type refers to text that has a light color on a darker background.

Em — Dash

Frac

tion

Raised Cap

The em dash is perhaps the most versatile punctuation mark. Depending on the context, the em dash can take the place of commas, parentheses, or colons—in each case to slightly different effect.

In typesetting, a single keystroke or keystroke combination that builds customized fractions.

A design 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.

Ligature

Calligraphy

Didone

Two or more letters are joined together to form one glyph or charcter.

A script, usually cursive, although sometimes angular, produced chiefly by brush, especially Chinese, Japanese, or Arabic writing of high aesthetic value.

Didone is characterized by: Narrow and unbracketed (hairline) serifs.

(The serifs have a constant width along their length.) Vertical orientation of weight axes.

Dingbat Dingb Ornment, character, or spacer used in typesetting, often employes for the creation of box framesw

Hairline Rule The thinnest possible stroke- 0.25 pt.

ch

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The History of the Letter No 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 communica-

tion 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’.

haracter studies A

Roman Ah Later Greek Alpha Greek Alpha

Phoenician Alef

Ox Head

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History of the Letter T About the Letter T

The Font: Baskerville

F

B

our thousand years ago, just as today, people who could not write used a simple cross to sign letters and formal documents. In fact, the first name for this ancient symbol actually meant “mark” or “sign.”

One might logically assume that this common signature stand-in was the origin of our present X. But that’s not the case. Instead, what looked like an X to ancient writers eventually gave birth to the Roman T. How did that happen? Let’s go back to around 1000 B.C. During this time, the Phoenicians and other Semitic tribes used a variety of crossed forms to represent the letter they called “taw.” This letter, one of the first recorded, served two purposes: it represented the ‘t’ sound, and it provided a mark for signing documents that could be used by those who could not write their names.

askerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England and cut into metal by John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon.

Compared to earlier designs, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular.

These changes created a greater consistency in size and form. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville’s time.

Phon

necian

Greek

Phonecian

Phonecian

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History

About The Font: Times New Roman

R

ooted 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 am persand has relatively limited uses. The Chicago Manual of Style doesn’t even address ampersands, except to say that it’s

of the Ampersand

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.

The ampersand in the italic designs of the Bulmer®, New Caledonia®, and ITC Legacy® Serif typeface families is in keeping with lowercase proportions, but the majority of ampersands are of the capital variety – and these can pose a problem when used in text copy. Like ranging numbers, big ampersands in a line of lowercase letters can stand out too much, disrupting the flow of the eye across a page.

16 History of the @

About the Font

The 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” as a tail. Or it came from the French word for “at”—à—and scribes, striving for efficiency, swept the nib of the pen around the top and side. 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.

Gravitas One is modeled on the “UK fat face” which is a kind of very heavy advertising type created during the industrial revolution in England. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes.

Gravitas One is modeled on the UK fat face which is a kind of very heavy advertising type created during the industrial revolution in England. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes. The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. The contrast of the design means that it will be most useful when set from medium to large sizes.

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logo design

MoMT Ampersand Design Studio Los Angeles, California

Ampersand Design Studio

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ubiquitous font

Ubiquitous Font: Garamond

A

bercrombie

16th century France

& Fitch is a

by Parisian crafts-

casual cloth-

man Claude Gara-

ing brand which has

mond. The ‘x’ height

existed since 1892.

is low compared to

The logo has re-

other serif fonts and

mained almost com-

the eye of the ‘e’

pletely unchangeed

is notably small.

since the companies

Garamond is nota-

conception, which I

bly similar to Times

found very interest-

New Roman, with the

ing, seeing as the font

exception of it be-

is a classic serif.

ing much thinner and

The font used in the

having a milder or

logo is Garamond. This

less noble apperance.

font is classic and

It is often consid-

is said to have been

ered one of the most

mostly developed in

consistent fonts.

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brochure

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typograp

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pher bio

☛Hermann Zapf U

nder the new political regime, Zapf was not able to attend the Ohm Technical Institute in Nuremberg, and therefore he needed to find an apprenticeship. His teachers, aware of the new political difficulties, noticed Zapf’s skill in drawing and suggested that he become a lithographer. Each company that interviewed him for an apprenticeship would ask him political questions,

retoucher, and Zapf began his fouryear apprenticeship in February 1934.

In 1935, Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch.

This exhibition gave him his first interest in lettering. Zapf bought two books there, using them to teach himself calligraphy. He also studied examples of calligraphy in the Nuremberg city library. Soon,

“His two most famous typefaces, Palatino and Optima, were designed in 1948 and 1952, respectively” and every time he was interviewed, he was complimented on his work but was rejected. Ten months later, in 1934, he was interviewed by the last company in the telephone directory, and the company did not ask any political questions. They also complimented Zapf’s work, but did not do lithography and did not need an apprentice lithographer. However, they allowed him to become a

his master noticed his expertise in calligraphy, and Zapf’s work shifted to retouching lettering and improving his colleagues’ retouching.

Zapf’s career in type design spanned the three most recent stages of printing: hot metal composition, phototypesetting (also called cold type), and digital typesetting. His two most famous typefaces, Palatino and Optima, were designed in 1948

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sketch

hbook

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poster

The Museum of Modern Typography

Zapf Presents

December 12th- January 12th

MoMT

1962 Grand Avenue Los Angeles, CA 90015 www.mmtLa.com

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pop pop pop pop pop pop

pop pop pop pop pop pop

pop

pop pop pop pop pop pop issue one

pop

in this issue;

volume seven

roy lichenstein

visual project

andy warhol

pop pop pop pop pop pop

pop pop pop pop pop pop

pop pop pop pop pop pop 38

pop pop pop pop pop pop pop

pop pop pop pop pop pop

visual project

issue one

in this issue; volume seven

andy warhol roy lichtenstein jasper johns larry rivers

frank o’ hara

pop pop pop pop pop pop andy warhol

jasper johns

pop pop pop pop pop pop pop visual project issue one

volume seven in this issue;

larry rivers

frank o’ hara

pop pop pop pop pop pop roy lichtenstein

pop pop pop pop pop pop

in this issue;

volume seven issue one roy lichtenstein

visual project

pop

andy warhol

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jasper johns larry rivers

frank o’ hara

pop pop pop pop pop pop

pop pop pop pop pop pop

pop pop pop pop pop pop

pop pop pop pop pop pop

pop pop pop pop pop pop

pop visual project issue one volume seven

in this issue; jasper johns larry rivers frank o’ hara andy warhol roy lichtenstein