Conway springsp

kelly conway GRAPHIC DESIGN

TYPOGRAPHIC PORTFOLIO AN EXPLORATION OF THE HISTORY, USAGE AND TERMINOLOGY OF TYPE AS USED IN THE GRAPHIC ARTS FASHION INSTITUTE OF DESIGN & MERCHANDISING

SPRING 2015

No other design discipline requ ires so much learning and training as fontography, and by no other aspect can amateu rs be so easily distingu ished from p rofessionals. To be font literate, a designer has to study the history and the p r inciples of font design.

-Dmitry Kirsanov

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kelly conway

GRAPHIC DESIGN

kelly conway graphic design winter 2015

table of contents typographic portfolio 4

6 8 12 18 22 30 32 34 36 46

personal logo ampersand design character studies poster design personal branding ubiquitous type sketch book newsletter pop! project typographic terms

logo design

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kelly conway GRAPHIC DESIGN

ampersand logo design

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typographic portfolio 10

character studies typographic portfolio 12

a character study: the letter a about the font

Pistilli Roman is a typeface collab-

oratively designed by Herb Lubalin and John Pistilli. Pistilli was a partner with Lubalin in New York City at the firm Sudler & Hennessey from 1949 to 1964. The typeface was accompanied by 3 alternate weights: Bold, Open No. 1 and Open No. 2, each of which varied exclusively in the thickness of the hairline strokes.

Given the technology of the time when Pistilli Roman was produced, the typeface was only designed and made functional for use on a typositor.After the demise of phototype and typositor machines, the typeface was never revisited and as a result, the typeface has never officially been digitized. Because Pistilli Roman was a very exclusive typeface that gained acclaims as a result of its highly elegant and unique ampersand, many look-alike typefaces began to surface.

Aa

The letter A is derived from the Phoenician letter aleph—a western Semitic word referring to the aforementioned beast of burden. Aleph can be traced back to the Middle Bronze Age and the Proto-Sinaitic script found in parts of Egypt and Canaan from around 1850 BCE (Before the Common Era). The character comes from an ancient Egyptian hieroglyph or pictogram depicting an ox’s head. Interestingly, the original image was reminiscent of the modern letter K. The letter originally served as a glottal stop (a stop consonant) in the Phoenician language such as a t or p in the middle of a word. Some linguists believe the aleph was placed at the beginning of the Phoenician alphabet to honor the ox, important for its muscle power and as a food source. A is the third most commonly used letter in the English alphabet (the letter e is in first place, followed closely by the letter t). The letter A likes to multitask, possessing three distinct phonemes: The æ, also referred to as a near-open front un-rounded vowel, denotes the a sound in apple and cat, the open-back un-rounded vowel, or a:, denotes the long a sound heard in father and March, and the ā, an orthographic vowel, exhibits the ei sound heard in the words made and fade.

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g

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 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 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.

about the

font

DIDOT

Didot is a name given to a group of typefaces named after the famous French printing and type producing family. The classification is known as modern, or Didone. The typeface we know today was based on a collection of related types developed in the period 1784–1811. Firmin Didot (1764–1836) cut the letters, and cast them as type in Paris. His brother, Pierre Didot (1760–1853) used the types in printing. His edition of La Henriade by Voltaire in 1818 is considered his masterwork. The typeface takes inspiration from John Baskerville's experimentation with increasing stroke contrast and a more condensed armature. The Didot family's development of a high contrast typeface with an increased stress is contemporary to similar faces developed by Giambattista Bodoni in Italy. Didot is described as neoclassical, and is evocative of the Age of Enlightenment.

character study: the letter Z

Zz What letter is used most rarely in English? Poor lonely z finishes up the alphabet at number 26. The final letter, z’s history includes a time when it was so infrequently used that it was removed altogether.

The Greek zeta is the origin of the humble z. The Phoenician glyph zayin, meaning “weapon,” had a long vertical line capped at both ends with shorter horizontal lines and looked very much like a modern capital I. By the time it evolved into the Greek zeta the top and bottom lines had become elongated and the vertical line slanted, connecting to the horizontal lines at the top right and the bottom left.

Around 300 BC, the Roman Censor Appius Claudius Caecus removed z from the alphabet. His justification was that z had become archaic: the pronunciation of /z/ had become /r/ by a process called rhotacism, rendering the letter z useless. At the same time that z was removed, g was added, but that’s another story.

Two hundred years later, z was reintroduced to the Latin alphabet but used only in words taken from Greek. Because of its absence and reintroduction, zeta is one of the only two letters to enter the Latin alphabet directly from Greek and not Etruscan.

Z was not always the final letter of the modern English alphabet, although it has always been in the 26th position.

For years the & symbol (now known as the ampersand) was the final, pronounced “and” but recited with the Latin “per se,” meaning “by itself.” The position and pronunciation eventually ran together, with “X, Y, Z, and per se and” becoming “X, Y, Z, ampersand.”

Z is the most rarely used letter in the alphabet; however, American English uses it more often than British English.

Early English did not have a z but used s for both voiced and unvoiced sibilants. Words in English that originated as loan words from French and Latin are more likely to be spelled with a z than an s. Also, American standardization modified /z/ suffixes to more accurately reflect their pronunciation, changing –ise and –isation to –ize and –ization.

about the font:rockwell Rockwell is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters. The typeface was designed at the Monotype foundry’s in-house design studio in 1934.[1] The project was supervised by Frank Hinman Pierpont. Slab serifs are similar in form and in typographic voice to realist sans-serifs like Akzidenz Grotesk or Franklin Gothic.

Rockwell is geometric, its upper- and lowercase O more of a circle than an ellipse. A serif at the apex of uppercase A is distinct. The lowercase a is two-story, somewhat incongruous for a geometrically drawn typeface.

Because of its monoweighted stroke, Rockwell is used primarily for display rather than lengthy bodies of text. Rockwell is based on an earlier, more condensed slab serif design called Litho Antique. The 1933 design for Monotype was supervised by Frank Hinman Pierpont.

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character study

the letter

m

Mm

Historians tell us that our current M started out as the Egyptian hieroglyph for “owl.” Over thousands of years, this simple line drawing was further distilled into the hieratic symbol for the ‘em’ sound. Eventually, the great-grandparent of our M looked a bit like a handwritten ‘m’ balanced on the tip of one stroke.

The Phoenicians called the letter mem. It’s easy to see that the Phoenician mem is based on the Egyptian hieratic symbol, and that it’s the forerunner of the thirteenth letter of our alphabet. The mem looked much like our two-bumped lowercase ‘m’ with an added tail at the end.

The Greek mu evolved from the Phoenician mem. The Greeks further simplified the letter and, in the process, converted the soft, round shapes into angular strokes.

The Etruscans and then the Romans adopted the Greek form, but neither made substantial changes to the shape or proportions of the character. Sometime in the third or fourth century A.D. the rounded lowercase ‘m’ began to appear, but it was almost lost in later centuries. In medieval writing, it became common practice to place a stroke over the preceding letter instead of writing the ‘m’ (probably because ‘m’ is one of the more time-consuming letters to write).

The Romans also pressed the M and six other letters – I, X, V, L, C, and D – into double-duty as their numerals, and gave M the honor of standing in for the highest value, 1,000.

about the font: misquite Mesquite is an Adobe® Originals typeface designed

by Joy Redick for Adobe® Systems in 1990, as part of the Adobe Wood Type series. The fonts in this family have no style links: none are a bold or italic variant of another.

You should note that selecting a style option such as bold or italic with any of these faces will either have no effect, or result in programmatic bolding or slanting of the base font, which will usually produce inferior screen and print results.

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eof xplorations

t y p o g r a p h y

HOEFLER & CO JONATHAN HOEFLER (BORN AUGUST 22, 1970) IS AN AMERICAN TYPEFACE DESIGNER. HOEFLER FOUNDED THE HOEFLER TYPE FOUNDRY IN 1989, A TYPE FOUNDRY IN NEW YORK. IN 1999 HOEFLER BEGAN WORKING WITH TYPE DESIGNER TOBIAS FRERE-JONES, AND FROM 2005–2014 THE COMPANY OPERATED UNDER THE NAME HOEFLER & FRERE-JONES UNTIL THEIR PUBLIC SPLIT.

HOEFLER HAS DESIGNED ORIGINAL TYPEFACES FOR ROLLING STONE MAGAZINE, HARPER’S BAZAAR, THE NEW YORK TIMES MAGAZINE, SPORTS ILLUSTRATED, AND ESQUIRE AND SEVERAL INSTITUTIONAL CLIENTS, INCLUDING THE SOLOMON R. GUGGENHEIM MUSEUM AND ALTERNATIVE BAND THEY MIGHT BE GIANTS. PERHAPS HIS BEST-KNOWN WORK IS THE HOEFLER TEXT FAMILY OF TYPEFACES, DESIGNED FOR APPLE COMPUTER AND NOW APPEARING AS PART OF THE MACINTOSH OPERATING SYSTEM.

JUNE 20

2015 8 PM

THE MUSEUM OF MODERN TYPOGRAPHY 5905 WILSHIRE BOULEVARD LOS ANGELES, CA 90036

TYPO GRAPHYWITH

5905 WILSHIRE BOULEVARD LOS ANGELES, CA 90036

EXPLORATIONS hoefler & co

OF

JONATHAN HOEFLER (BORN AUGUST 22, 1970) IS AN AMERICAN TYPEFACE DESIGNER. HOEFLER FOUNDED THE HOEFLER TYPE FOUNDRY IN 1989, A TYPE FOUNDRY IN NEW YORK. IN 1999 HOEFLER BEGAN WORKING WITH TYPE DESIGNER TOBIAS FRERE-JONES, AND FROM 2005–2014 THE COMPANY OPERATED UNDER THE NAME HOEFLER & FRERE-JONES UNTIL THEIR PUBLIC SPLIT. HOEFLER HAS DESIGNED ORIGINAL TYPEFACES FOR ROLLING STONE MAGAZINE, HARPER’S BAZAAR, THE NEW YORK TIMES MAGAZINE, SPORTS ILLUSTRATED, AND ESQUIRE AND SEVERAL INSTITUTIONAL CLIENTS, INCLUDING THE SOLOMON R. GUGGENHEIM MUSEUM AND ALTERNATIVE BAND THEY MIGHT BE GIANTS. PERHAPS HIS BEST-KNOWN WORK IS THE HOEFLER TEXT FAMILY OF TYPEFACES, DESIGNED FOR APPLE COMPUTER AND NOW APPEARING AS PART OF THE MACINTOSH OPERATING SYSTEM.

JUNE 20

2015 THE MUSEUM OF

MODERN typographic TYPOGRAPHY portfolio 20

EXPLORATIONS OF TYPOGRAPHY WITH

hoefler & co JONATHAN HOEFLER (BORN AUGUST 22, 1970) IS AN AMERICAN TYPEFACE DESIGNER. HOEFLER FOUNDED THE HOEFLER TYPE FOUNDRY IN 1989, A TYPE FOUNDRY IN NEW YORK. IN 1999 HOEFLER BEGAN WORKING WITH TYPE DESIGNER TOBIAS FRERE-JONES, AND FROM 2005–2014 THE COMPANY OPERATED UNDER THE NAME HOEFLER & FRERE-JONES UNTIL THEIR PUBLIC SPLIT.

HOEFLER HAS DESIGNED ORIGINAL TYPEFACES FOR ROLLING STONE MAGAZINE, HARPER’S BAZAAR, THE NEW YORK TIMES MAGAZINE, SPORTS ILLUSTRATED, AND ESQUIRE AND SEVERAL INSTITUTIONAL CLIENTS, INCLUDING THE SOLOMON R. GUGGENHEIM MUSEUM AND ALTERNATIVE BAND THEY MIGHT BE GIANTS. PERHAPS HIS BEST-KNOWN WORK IS THE HOEFLER TEXT FAMILY OF TYPEFACES, DESIGNED FOR APPLE COMPUTER AND NOW APPEARING AS PART OF THE MACINTOSH OPERATING SYSTEM.

5905 WILSHIRE BOULEVARD LOS ANGELES, CA 90036

JUNE 20

2015

THE MUSEUM OF MODERN TYPOGRAPHY

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kelly

hello!

I’m Kelly graphic designer + coffee lover los angeles, ca

conway

contact chefkelly3196@gmail.com (530) 368-2307 @kel.lauren

Education

experience

FIDM Graphic Design AA 2014-2016

GRAPHIC DESIGNER (present)

Del Oro High School Graduated 2014

Certification ServSafe Barista CPR

Languages English American Sign Language

Proficiency Adobe Photoshop Adobe Illustrator Adobe InDesign Microsoft Programs Customer Service Register Experience

kelly

Freelance Designs for Various Musical, Theatrical, Photography Groups & Local Businesses

BARISTA (Nov ‘14-present)

Coffee Bean & Tea Leaf

WAITRESS (June ‘14-Oct ’14)

Oaks of Auburn Retirement Home

SALES ASSOCIATE (Dec ‘13-June ’14) Urban Outfitters & Beverly’s Crafts

Interests Designing, creating, loving, smiling.

references Anna Clenshaw, FIDM Admissions Advisor (415) 675-5200 ext. 1558

aclenshaw@fidm.edu

Linda Balough, Oaks of Auburn Manager (530) 888-1144

Lynda Smith-Raines, DOHS Advisor (916) 960-3664

lsmith@puhsd.k12.ca.us

conway

kelly conway GRAPHIC DESIGN

B U S I N E S S

C A R D

back

kelly conway GRAPHIC DESIGN

kel.lauren.conway@gmail.com 530.368.2307

hello there !

front

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kelly conway GRAPHIC DESIGN

U S E R

E X P E R I E N C E

kelly conway GRAPHIC DESIGN

hello there !

kelly conway GRAPHIC DESIGN

kelly conway GRAPHIC DESIGN

kelly conway GRAPHIC DESIGN

E

N

V

E

L

O

P

E

S

hello there !

DESIGN 1

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kelly conway

hello there !

GRAPHIC DESIGN

kelly conway GRAPHIC DESIGN

L E T T E R H E A D

kelly conway GRAPHIC DESIGN

DESIGN 2

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kelly conway GRAPHIC DESIGN

S T A T I O N A R Y

hello there !

By Milton Glaser

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

A report on public typography

Ubiquitous Type

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 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 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.

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 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. 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

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

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

type

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 type.

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.

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January 21-24 week of

CCSA Hosts:

Yoga Workshop

Join our CCSA Club for a FREE Yoga class. Learn how yoga can help your physical & mental state.

Open to all current students.

Student Council Hosts

Pilates Class

Join Student Council for a fun introductory pilates class.

Open to all current students.

Thursday, Jan. 23 11:15 a.m. - 12:00 p.m.

A332

Personal Counselors Workshop

New Year, New You!

Wellness Fair Start the New Year by being healthy. Join us for our annual health fair!

Get services and info from: •Vertigo Salon •Evoke Yoga •Los Angeles Athletic Club

Active Wear for Cotton

Just Design It

This unique competition allows participants to become actively acquainted with the benefits of cotton in active wear design. In teams of three, participants are challenged to research a sport or fitness activity, develop a consumer profile, and design a cotton rich garment that is functional and fashionable. $19,000 in scholarships will be awarded. Application deadline: January 23 to Suite 201E. For more information contact tedwards@fidm.edu or visit the Portal.

How to Save a Life Come hear personal stories

from two current students about overcoming depression. Learn tips and tools on how to help yourself and others.

Thursday, Jan. 23

Meditation

Wrap up Student Activities’ Wellness Week with an afternoon meditation session. Lead by Meditation sepcialist, Sonya Joseph. Leave feeling refreshed & clam for your weekend.

Zumba

Join us for a high intensity, high energy, Latin inspired workout! Burn calories while having a blast!

Thursday, Jan. 23 6:30 p.m. - 7:30 p.m. in the Student Lounge

Celebrate Paris With Us

Find us in the Student Lounge on Tuesday, Jan.28, to learn about our 2014 Paris Summer Institute.

A trip you don’t want to miss!

To sign up, go to https://myfidm.fidm.edu. Click the “MY FIDM” link at the top of the page & select “ABOUT STUDY TOURS” in the navigation bar on the left.

For questions, contact Sevana Dimijian at sdimijian@fidm.edu. Also, find us on FACEBOOK @ facebook.com/fidmstudy.tours

Friday, Jan. 24 11:15 a.m. - 12:00 p.m.

Room 425

FIDM MODE Career Center Magazine TJ MAXX will be on campus Launch Party Wednesday, Jan. 22, recruiting for Assistant Managers in the Los Angeles area. Please sign up in the Career Center.SUNGLASS HUT will be on campus Thursday, Jan. 23, recruiting for their new store at 7th & Figueroa. Please sign up in the Career Center.

The FIDM MODE™ Magazine presents the release of Fall/Winter 2014 issue. Join us as we celebrate the launch with an exclusive party! Tickets will be sold starting Wednesday, Jan. 22, in Student Activities, Rm. 425, for $10.00 or $15.00 at the door.

Thursday, Feb. 6 7:00 p.m. – 10:00 p.m.

Vertigo Salon (penthouse of the Annex)

pop! project typographic portfolio 36

pop!

alex truchut

the visual project zine

andy warhol

issue one

chip kidd

in this issue:

herb lubalin

volume eight

paula scher david carson

WEEK 1

pop! the visual project zine issue one in this issue: volume eight

alex truchut andy warhol chip kidd herb lubalin paula scher david carson

WEEK 2 typographic portfolio 38

e on e su

is

pop!

paula scher alex truchut andy warhol chip kidd herb lubalin david carson

the visual project zine

t gh ei e m lu vo in this issue:

WEEK 3

pop! the visual project zine issue one in this issue: volume eight paula scher

alex truchut

andy warhol chip kidd

herb lubalin

david carson

WEEK 4 typographic portfolio 40

paula scher alex truchut andy warhol chip kidd herb lubalin david carson

pop! the visual project zine issue one in this issue: volume eight

WEEK 5

pop! the visual project zine issue one volume eight in this issue: paula scher alex truchut andy warhol chip kidd herb lubalin david carson

WEEK 6

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WEEK 7

david carson

herb lubalin

chip kidd

andy warhol

alex truchut

paula scher

pop! pop! pop! the visual project zine issue one in this issue: volume eight

!pop

pop!

issue one in this issue: volume eight

the visual project zine david carson

david carson

david carson

david carson

andy warhol

andy warhol

andy warhol

andy warhol

alex truchut

alex truchut

alex truchut

alex truchut

paula scher

paula scher

paula scher

paula scher

herb lubalin

herb lubalin

herb lubalin

herb lubalin

chip kidd

chip kidd

chip kidd

chip kidd

WEEK 8 typographic portfolio 44

pop! david carson the visual project zine alex truchut issue one andy warhol volume eight chip kidd in this issue: herb lubalin paula scher

WEEK 9

typographical terms

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T Y P O G R A P H I C A L T E R M S I L LU S T R AT E D Brush Script 12 pt. rule grotesque cursive

Aa

Helvetica Franklin Gothic

AaBbCc

(30 pt.)

Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and are known as display faces.

by K elly Conway

Fractur

AaBbCc

swash

ffl fl Two or more characters joined as a single unit.

ligature

An exaggerated serif, terminal, tail or entry stroke.

slab serif AaBbCc

Typeface with heavy, square serifs.

Can be angular or rounded.

A typeface known for its dramatically thick lines,accented wth thinner one.

Often have extravagant serifs.

American Typewriter

Rockwell Courier

a fine line or rule, 1/4-point in thickness.

hairline rule

Adjusting the space between letters.

serif

▲❈✍ ❆❁❋ ■❊❏

AaBbCc AaBbCc

Ωæø ☺¤⁋

handlettering display

Generally a handwritten font, sometimes cursive.Handlettering is essential in creating and designing a font.

AaBbCc

• » ‣ ⁕ ჻ ❈❊❋

a slight projection finishing off a stroke of a letter in certain typefaces.

A hieroglyphic character or symbol, can be used to emphasize text.

Typographic element or symbol to highlight specific lines or text.

Aa Bb Cc

glyph

bullet

zapf digbat

• --------------------------------------• --------------------------------------• ---------------------------------------

A

tracking

A large initial letter that drops below the first line of a paragraph.

---------------------------------------------------------------------------------------------

The space between groups of letters rather than individual letters.

drop cap

dingbat

AaBbCc A a B b C c

Type made from wood, formerly made for displays larger than 1 inch (headlines).

Bakersville

AaBbCc

woodtype

Times New Roman

AaBbCc

AaBbCc

Brush Script

An effect where the type is dropped out of a background color or photo.

AaBbCc

An ornament, character, or spacer used in typsetting.

kerning

reversed

oblique AaBbCc Roman characters that slant to the right AaBbCc transitional AaBbCc

An accent or effect on a typeface to show age or stress.

A typestyle that combines features of both Old Style and Modern.

abc

distressed

calligraphy AaBbCc

Aa Bb Cc

Coneria Script

Abc AaBbCc

Cursive is a form of casual script.

Once early italic typefaces that resembled handwritting, but with the letters disconnected.

The most common method used to measure type is the point system.

12 PTs make one pica: a unit to measure column widths Ellegant handwriting, or the art of producing such.

blackletter AaBbCc Textura

First popular Sans Serif, Grotesque is a typeface with minimal varience between thick and thin strokes.

Aa

Coneria Script

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N

kelly conway GRAPHIC DESIGN