"An exploration of the history, usage and terminology of type as used in the graphic arts."
Typographic GRAPHIC DESIGN
Spring 2016
Fashion Institute of Design & Merchandising
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Hello, I’m a graphic designer who loves to play with typography. This is a personal typographic portfolio where I am free to be myself. I hope you enjoy and get inspired, too. Come visit LA, a beautiful place to get creative.
C o n t e n t s ❶ Typographic Terms ② Logo Design
Character Studies ➃ Typographic Poster ❺ Ubiquitous Type ➅ Sketchbook ❼ Newsletter ➇ Pop! Project ❾ Fonts Used ❸
T y p o g r a p h i c Grotesque
Grotesque is frequently used as a synonym with sans serif. The first sans-serif typeface called grotesque was also the first sans-serif typeface containing actual lowercase letters.
Cursive Blackletter Calligraphy handlettering
Distressed
Reversed Wood type
Display Transitional
Cursive 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 writing faster. The Blackletter typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs.
Calligraphy is the art of writing beautifully. It is the desgin and execution of lettering with a broad tip instrument, dip pen, or brush. Handlettering is an illustration of letters that come together to create a design that is intended for one configuration only.
The type D personality describes individuals who experience feelings of negativity, depression, anxiety, stress, chronic anger, and loneliness.
Reversing type is placing light or white type against a darker background.
wood type fonts are Large letters used in printing carved out of wood.
display typefaces are used to entice a reader into text copy, to create a mood or feeling.
The transitional typeface represents the initial departure from centuries of Old Style tradition and immediately predate the Modern period.
T e r m s Oblique
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, it does not use different glyph shapes.
Swash Serif
A serif is a small decorative line added to finish off a stroke as embellishment to the basic form of a character.
Slab Serif
Kerning Tracking
D
A swash is a typographical flouish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.
rop cap
dingbats
A slab serif typeface is characterized by thick, block-like serifs.
Kerning refers to adjusting the space between characters, especially by placing two characters closer together.
Tracking is the s p a c e b e t w e e n g r o u p s o f l e t t e r s rather than individual letters.
A
large initial letter that drops below the first line of a paragraph.
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Dingbats are decorative elements thatcan vary from simple
Glyphs are Any singular mark that makes part of
• bullet
fi ff fl ffi ffj ffl
bullets to delicate fauna and flora.
Bullets are a typographical symbol or
a font, whether a letter, number, punctuation mark or even a dingbat.
glyph used to introduce items in a list.
Ligatures are the conjoined but non-identical twins of the typographic universe, used to pull two forms together to produce a new glyph.
12 POINT RULE is a line at 12 pts. 72 points = 1 inch.
HAIRLINE RULE is a very thin line typically less than 0.5 pt wide.
L o g o
D e s i g n
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Ampersand D esign Studio Los Angeles, California
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A mpersand D esign S tudio Los Angeleles, California
MUSEUM OF MODERN TYPOGRAPHY
C h a r a c t e r S t u d i e s
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.) 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. There are 25 more stories.
hin Coc
Cochin is a transitional serif typeface. It was originally produced in 1912 by Georges Peignot for the Paris foundry G. Peignot et Fils (future Deberny & Peignot) and was based on the copperplate engravings of French 17th century artist Nicolas Cochin, from which the typeface also takes its name. The font has a small x-height with long ascenders. Georges Peignot also created the design 'Nicolas-Cochin' as a looser variation in the same style.
The letter V comes from the Semitic letter Waw, as do the modern letters F, U, W, and Y. In Greek, the letter upsilon 'Y' was adapted from waw to represent, at first, the vowel [u] as in "moon". This was later fronted to [y], the front rounded vowel spelled 'ü' in German. In Latin, a stemless variant shape of the upsilon was borrowed in early times as V— either directly from the Western Greek alphabet or from the Etruscan alphabet as an intermediary—to represent the same /u/ sound, as well as the consonantal /w/. Thus, 'num' — originally spelled 'NVM' — was pronounced /num/ and 'via' was pronounced [wia]. From the 1st century AD on, depending on Vulgar Latin dialect, consonantal /w/ developed into /Y/ (kept in Spanish), then later to /v/. During the Late Middle Ages, two forms of 'v' developed, which were both used for its ancestor /u/ and modern /v/. The pointed form 'v' was written at the beginning of a word, while a rounded form 'u' was used in the middle or end, regardless of sound. So whereas 'valour' and 'excuse' appeared as in modern printing, 'have' and 'upon' were printed as 'haue' and 'vpon'. The first distinction between
Bodoni
Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.
Generally 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. Some contend this was because the upsidedown 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.
Helvetica
Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann.It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. Over the years, a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally designed include the termination of all strokes on horizontal or vertical lines and unusually tight letter spacing, which give it a dense, compact appearance.
T y p o g r a p h i c P o s t e r
The Museum of Modern Typography
1.0 0.8 0.6 0.4 0.2 0.0
June 21-September 18, 2016 Presents an exhibit of the creator of the fashion font
Modern 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 twohundred-year journey away from calligraphy. In the late eighteenth century the style 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, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style. The font, Didot, is used as the masthead for both Vogue and Harpers Bazaar.
The Museum of Modern Typography 221 South Grand Avenue Los Angeles 90012 MUSEUM OF MODERN TYPOGRAPHY
www.museumofmoderntypography.com
U b i q u i t o u s T y p e
T
"The presence of typography both good and bad, and can be seen everywhere."
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 rulebook? What reason and authority exist wilderness of letters: in part a pocket field for these commandments, suggestions, guide to the living wonders that are found and instructions? Surely typographers, like there, and in part a meditation on the others, ought to be at liberty to follow or to ecological principles, survival techniques, blaze the trails they choose. and ethics that apply. The principles of Typography thrives as a shared concern typography as I understand them are not and there are no paths at all where there a set of dead conventions but the tribal are no shared desires and directions. A customs of the magic forest, where ancient typographer determined to forge new voices speak from all directions and new routes must move, like other solitary ones move to unremembered forms. travellers, through uninhabited country One question, nevertheless, has been and against the grain of the land, often in my mind. When all right-thinking crossing common thoroughfares in the human beings are struggling to remember silence before dawn. The subject of this that other men and women are free to book is not typographic solitude, but the be different,6and free to become more old, well travelled roads at the core of the different still, how can one honestly write a 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 precisely the use of a road: to reach individually 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.
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�
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. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after. Writing systems vary, but a good page is not hard to learn to recognize, whether it come from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy. 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 largely 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. 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.
S k e t c h b o o k
S k e t c h b o o k
N e w s l e t t e r
WEEKLY
APRIL 25- 29
What’s going on around campus
June 2016 Graduates!
Costume Exhibition Closing Soon!
Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30!
The show features costumes from 23 films, including Star Wars, Cinderella, Crimson Peak, and the Oscar winner for Best Costume Design Mad Max: Fury Road. The Museum is always FREE, and students receive a 20% discount in the Museum Store! Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.
AT THE FIDM
Mother's Day Pop up
MUSEUM SHOP
Meet current FIDM student Sky Lim, and check out her unique line of leather accessories. Exclusively sold in the Museum Shop. Additional limited edition jewelry will be featured by alumna Rafia Cooper.
FIDM Visit by Academic Par tnerships (Transfer Schools from New York and London) Representatives from the Laboratory Institute of Merchandising (LIM) in Manhattan, New York will be on campus Monday April 25, 2016 and from Regents University (formerly AIU London) in London, England will be on campus Friday, April 29, 2016. If you interested in learning more about these transfer options or scheduling an appointment with the representatives from these schools contact Ben Weinberg in room 208A extension: 3405.
i Help is Here for the Asking
Assistance is available in writing, mathematics, accounting, statistics, critical thinking, time management, and much more. Come to the IDEA Center, located in the Design Studio East on the ground floor of the Annex. M – Th: 8:00 – 5:00 p.m. F: 8:30 a.m. – 4:00 p.m.
*DESIGN STUDIO WEST is now open! Instructor-led workshops in Photoshop/ Illustrator & Sketching have begun. Stop by the IDEA Center or check the FIDM Portal for a schedule of instructors. DESIGN STUDIO EAST HOURS (computers/printers) M-Th: 7:00 a.m. – 8:00 p.m. F: 7:00 a.m. – 6:00 p.m. Sa: 9:00 a.m. – 4:00 p.m.
Travel to NewYork!
✈
Spend your quarter break exploring NYC! Sept 25 – Oct 1 meet with FIDM alumni who will share their industry experience. See a Broadway show, shop the stores for the latest trends, and experience the Big Apple! Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fidm.edu
✏
The FIDM Bookstore
JUNE 2016 GRADS
MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016. E-Exits are available online at WWW.UASEXIT.COM COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held.
If you have any questions, please call Evelyn Garcia at (213) 624-1200 ext 4292 or stop by Room 401-N.
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Career Center
The FIDM Store is now carrying the Makeup Eraser! This amazing cloth uses only water to take off ALL of your makeup!
FOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job # 65928, and sign up through Career Network.
Wow! Save yourself a trip to the beauty store and get it at The FIDM Bookstore! Quantity is limited, grab one before they’re all gone!
SAVE THE DATE,INDUSTRY EXPO on May 11 at 10:00 a.m. to 2:00 p.m. Come network with our industry partners. ALL STUDENTS AND ALUMNI ARE WELCOME.
GUESS? Inc.
DESIGN STUDIO WEST HOURS M – F 8:30 a.m. – 6:00 p.m.
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In partnership with Guess?, Inc. FIDM is developing Sustainable a sustainability course on “The Sustainable Product Lifecycle”. 15 selected students will be immersed Product in hands-on course work, labs and field trips to enable them to understand, create Lifecycle and analyze innovative practices aiming to reduce a product’s impact on Course the global environment. This 8 week course will start July 2016 and will be held on Wednesdays from 12:00PM2:45PM. Applications for this FREE EXCLUSIVE course are available on the portal or in suite 201, desk 5. Application and written response is due April 28th. Please contact lnavas@fidm.edu with questions. This course is open to all current FIDM students.
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Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the student portal? Any questions please see Elizabeth in room 313.
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iov leurm k t l t and sa a in cvfi rto h d af r i dian e i n da r yhf r i dv e ns e i i e e r a ’ i r e e p j n f r t t o w o f y h h n r n s d y l a r r h a r ai s s uoey: l i c l a rsr u a li spsi susenu e i: s s u e l y l i c h lfor a n k lo r j o h na n v i t hm i se t e s t ae ri n a r h o w a r h or ol k e k i on ’ t h i ns s tdeai nk a h p s n a s w n u n a n d s i l a r i i e e r j y y ! ! f r r o jooph c h t f c t ive n te a n hd a r a p o vpo yp lreiocajnhenitcd h af r a r yo pr ! r oujj ea c :s tp e rrpo y alrli sp r ohj leo rp rai sl s u k aahnl ko ol ’ a n ksp o! ’ a l ! s t t e a p p s u s c c p no v i s fmr ied tae nfwr a r h or fjro h u iasl i t e nsat reri ynv irfsri uvi dma ek et e: n jpporohonj el p r o j e i st h r v l e e l u n u u n y e l i l a a p p s e d a o s m t vo ! an ej a s a r j a issr us i s uer ns en vooyl ul i c hn i nleo n t hv i s ui e n n isnt ee i n p o ps uper on jinen kc t o ’r rhy r si v eor lr uy mrv:ei votel u m e : t r i s e h e s t e e a iusa l f r a r hl a i a l v l v n u e e h l u o h su irsi sd a k iii snnus e n ieni n arho ool y l i c yh l w t ewnsap e r j ot h i s i ss stuhei st n vis me h o f r r e s a y t s s a i s d i d a s l l y w ara aa nk v o l ua n n ijnaeo ’ yhiranirv e rl i c hi nt e n l i cwh at er hn ow a r h o and o’ h h af rr iad kl a r r rnosy s u er:onyldo y n d lyoa r a k ’ e n n o a u r a a ns r r k s is f j ohl hi s i sd a k ataeh i dn a k kaoa ’h h k o ’ h a fran hns f r joh o ei rnrh o e j t a i i p p n n s r r r s s s w s f f a a n e s rs e jya ja fr fr john john s iver jasp r iyav relai c h t : and iver p e rj a s p resr r y’ r oh ry r r r r o o s e e: l s a a a y l u l r k j h r : issu ein i v ey r i v e ni sa s k a e i n lar ue r fran h s s s i i s o d y i j i r h r lar lar sue: sue: ne rt f r hs t e n s t e ii nn t h this enst j a s pi enst iecr icht i s i st h i ss ti es i n s t e i ni n t l l v h h i t r y y c i o l yo ro in i nh t e n h t e n ahlo o l a r r r d ai s ks au he l: roy ic lico lo da k kahl i i y y n s r r i o o a i f f l l r r e d h fri kah kah in t enst rida frida icht f l y ro hlo a ka frid
P o p ! P r o j e c t
visual project issue nine
volume ten
in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank oÕhara frida kahlo
F o n t s U s e d Adobe Caslon Pro Soria Didot Channel Avenir Futura Cuprum FabfeltScript Dearest ChopinScript Pistol Grip Pump
Baron Kuffner Impact Label FHA Nicholson French NCV Blackout Baskerville Josefin Sans Shellahera Script Demo Capitals
Apple Symbols Prestige Elite Std Academy Engraved LET Khmer MN Zapf Dingbats Party LET Symbol Synchro LET Georgia Myriad Pro Arial Black Andale Mono Gurukhi Mn PT Sans Trajan Pro 3 Seravek Cochin Helvetics Parisish Charter