Daina kim single

typography

Portfolio

fashion institute of design and merchandising winter 2018

C

DAINA KIM Graphic Design

4 6 8 10 12

typography portfolio introduction fonts logo design typographic terms

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s t n ubiquitous type 14 elements of design 16 18 character studies 31 32 pop! 51

typography portfolio introduction fonts logo design typographic terms

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typography

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Portfolio

fashion institute of design and merchandising winter 2018

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2 Typographical Portfolio

DAINA KIM

ubiquitous type 14 elements of design 16 18 character studies 31 32 pop! 51

Graphic Design

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CHARACTER STUDIES

G

!

raphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray�. Over time, the i moved above the o, and the o became smaller, becoming a point.

The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation�[3] or the “note of admiration� until the mid-17th century;[4] admiration referred to its Latin sense of wonderment.

The exclamation mark did not have its own dedicated key on standard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe. In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as “bang�, perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired,[8] although the nickname probably emerged from letterpress printing.[9] This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.

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18 Typographical Portfolio

AINA

D ai na

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Character Studies

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S A Q &Z

Display type

Arrangement in a straight line, or in correct or appropriate relative positions.

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

A

large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.

A thing used for tying or binding something tightly.

☛

Ellipsis

Bullet

✔

Blackletter

A typographical device other than a letter or numeral (such as an asterisk), used to signal divisions in text or to replace letters in a euphemistically presented vulgar word.

Alphanumeric

An early, ornate, bold style of type, typically resembling Gothic.

XI

Grotesque

N

a

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.)

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.

Oblique Neither parallel nor at a right angle to a specified or implied line; slanting.

HI Reversed Move backward.

Distressed

Q

A very ugly or comically distorted figure, creature, or image.

A character that is either a letter or a number.

CHARACTER STUDIES

...

The omission from speech or writing of a word or words that are superfluous or able to be understood from

A small symbol, such as a solid circle, printed just before a line of type, such as an item in a list, to emphasize it.

Dingbat

Slab Serif Typeface is a type of serif typeface characterized by thick, block-like serifs.

Drop Cap

fi

Ligature

im

im

AINA Im

im

im

im

im

AINA Im

AINA Im

10 Typographical Portfolio

im

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Graphic Design

Graphic Design

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DAINA KIM

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DAINA KIM

Alignment

TYPOGRAPHICALTERMS

Logo Design

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typography portfolio

4 6 8 10 12

A slanting version of a face.

Oblique is similar to italic but without the script quality of a true italic.

A Times Roman

Stanley Morison, typographic advisor to Monotype, was also made typographic advisor to The Times of London newspaper in 1929. One of his first responsibilities in the latter position was to redesign the newspaper. Several existing typestyles were tried as replacements for the typeface the newspaper had been using for years; but Morison and The Times executive staff found them unsuitable for one reason or another. The decision was then made to create a new, custom, design.

! S CHARACTER STUDIES

G

American Typerwriter

American Typewriter is a slab serif typeface created in 1974 by Joel Kaden and Tony Stan for International Typeface Corporation. It is based on the slab serif style of typewriters; however, unlike most true typewriter fonts, it is a proportional design: the characters do not all have the same width.

S

reek did not have a // phoneme, so the derived Greek letter Sigma (S) came to represent the voiceless alveolar sibilant /s/. While the letter shape S continues Phoenician ĹĄĂŽn, its name sigma is taken from the letter samekh, while the shape of samekh but name and position of ĹĄĂŽn is continued in the xi.[citation needed] Within Greek, the name of sigma was influenced by its association with the Greek word ĎƒÎŻÎśĎ‰ (earlier *sigj-) “to hissâ€?. The original name of the letter “sigmaâ€? may have been san, but due to the complicated early history of the Greek epichoric alphabets, “sanâ€? came to be identified as a

4 Typographical Portfolio

separate letter, M. Herodotus reports that “San� was the name given by the Dorians to the same letter called “Sigma� by the Ionians.

The Western Greek alphabet used in Cumae was adopted by the Etruscans and Latins in the 7th century BC, over the following centuries developing into a range of Old Italic alphabets including the Etruscan alphabet and the early Latin alphabet. In Etruscan, the value /s/ of Greek sigma (đ?Œ”đ?Œ”) was maintained, while san (M) represented a separate phoneme, most likely // (transliterated as Ĺ›). The early Latin alphabet adopted sigma, but not san, as Old Latin did not have a // phoneme.

Graphik

In a sweltering typographic climate that favours ‘organic’ look-atme typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen & pick up the latest copy of Wallpaper* magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time.

Introduction

C

DAINA KIM Graphic Design

Daina Kim - future graphic designer currently attending at fashion institute of design and merchandising. Still learning how to become a better graphic designer. These are just beginning stay tuned for amazing work.

This is just the first step to her big dream.

fonts

Aqua Grotesque Ailerons QuigleyWiggly Times New Roman Apple Chancery American Typewriter graphik African Helvatica Neue

8 Typographical Portfolio

6 Typographical Portfolio

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ike any other creative pursuit, the design of letterforms is determined by the prevailing cultural climate and thus in a state of constant flux. Typography now functions as a kind of weathervane for the zeitgeist, with typographic analysis a leading design issue. Indeed, as designers have sought to express themselves and define their time, type has increasingly come to have its own intentions, beyond those of verbal communication.

From its first printed appearance in the West, type drew on existing forms, with the results then impacting on future designs. The letters printed in Renaissance Europe by Johann Gutenberg were a direct interpretation of the ornate gothic handwriting of the day; black-letter, in movable, reusable hot metal. Black-letter would also influence the first italic type cut by Francesco Griffo, which was largely informed by 16th century Italian handwriting. But it was the renewed interest in classic Greco-Roman culture, rather than technological development, that would see our standard roman alphabet find its definitive printed expression.

CHARACTER STUDIES

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.

CHARACTER STUDIES

Z

tyle

DA IN A

BY

Ty

pe

ELEMENTS OF DESIGN

The early Humanist faces derived their majuscules from stonecarved Roman capital letters (hence the serifs) while their minuscules were adapted from the formal calligraphy of scribes.

The more successful types revealed an ability to differentiate the written from the printed character, as evidenced by the letters of Nicolas Jenson.

Extremely well-proportioned and unifiewd in form, Jenson’s type reconciled capitals with small letters and provided the blueprint for future letterpress faces.

Our more familiar Baroque types

of the 17th century were designed

by Claude Garamond and, later, William Caslon. Displaying low stroke contrast and a diagonal stress derived from Italian cursive, they were elegant and highly legible, their dominance only challenged by the work of John Baskerville in the mid-18th century. His strongly vertical Neoclassical faces were based on earlier French grid-based designs and introduced the contrasting stroke weights which were to reach their apotheosis in the coming Romantic faces of Giambattista Bodoni and Firmin Didot.

Elements of Design

Swiss style is a graphic design style develped in Switzerland in the 1950s. That emphhasizes cleaniness, readablilty and objectivity Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces and flush left, ragged right text. The style has a preference of photography. Many of the early international typographic style works featured typography as a primary design element and it is for this that the style is named.

The influence of calligraphy now diminished as punchcutting evolved and letterforms began to echo their metal origins.

Improved technologies had gradually facilitated fine detail like unbracketed hairline serifs and high stroke contrast. As a result these sophisticated designs earned type a newfound importance in their ability to command attention. This was timely as the next phase would require and produce various distinctive faces, though the beauty of their form would be contested.

Q & Z1 A graphic design style that emphasized simplicity, readabiity, and neutrality. A rigid grid structure was often used to order elements, and simple photography and typography were preferred over more complex graphics.

“Writing is words made visible.

In the broadest sense, it is everything— pictured, drawn,or arranged—that can be turned into a spoken account.

The fundamental purpose of writing is to convey ideas. Our ancestors, however, were designers long before they were writers, and in their pictures, drawings, and arrangements, design played a prominent role in communication from the very beginning”.

16 Typographical Portfolio

CHARACTER STUDIES

Helvetica Neue

Helvetica 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 a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, compact appearance.

T

DESIGNED BY

&

he ampersand can be traced back to the first century AD. It was originally a ligature of the letters E and T (“et” is Latin for and). If you look at the modern ampersand, you’ll likely still be able to see the E and T separately. The first ampersands looked very much like the separate E and T combined, but as type developed over the next few centuries, it eventually became more stylized and less representative of its origins. The modern ampersand has remained largely unchanged from the Carolignian ampersands developed in the ninth century.

Italic ampersands were a later ligature of E and T, and are also present in modern fonts. These were developed as part of cursive scripts that were developed during the Renaissance. They’re often more formal-looking and fancier than the standard Carolignian ampersand. The word “ampersand” was first added to dictionaries in 1837. The word was created as a slurred form of “and, per se and”, which was what the alphabet ended with when recited in Englishspeaking schools. (Historically, “and per se” preceded any letter which was also a word in the alphabet, such as “I” or “A”. And the ampersand symbol was originally the last character in the alphabet.) The ampersand is a part of every roman font. It’s used in modern text often, probably most frequently in the names of corporations and other businesses, or in other formal titles (such as Dungeons & Dragons).

le Chancery App

The Mac calligraphy connection doesn’t end there. Two of Reynolds’ former students, Bigelow and his partner Kris Holmes, designed several later fonts for Apple, including the Lucida family — Lucida Grande is the current default font on the Mac toolbar — and new versions of Chicago, Monaco, Geneva, and New York.

Apple Chancery, which they also designed, is based closely on Reynolds’ own italic lettering, and Bigelow and Holmes used their college textbook as a model during the design process (Holmes has said she wanted to call it Scheherazade, for the 1001 characters she and Bigelow created for the font, but that the name wouldn’t fit on a pull-down menu).

Gotham

bansky

andy warhol

issue one

jasper johns

the weekend

32 Typographical Portfolio

volume eleven

pop!

visual project

week ONE pop!

larry rivers

Ours is the first century in which most mass-produced letters can correctly be called “typography.” Technically speaking, typography is the product of type, the individual, recombinable characters in a typeface that are designed for printing words on paper. A century ago, a book’s pages contained typography, but its cover, spine, and illustrations featured lettering, each of the product of an artist working by hand in a different medium. Because letters made by hand had no obligation to resemble the look of printing types, different media evolved their own aesthetics: lithographed posters, engraved banknotes, and neon signs once enjoyed unique alphabetic styles.

shepard fairey

still used in Hong Kong English although they are usually seen as mispronunciations.

Other languages spell the letter’s name in a similar way: zeta in Italian, Basque, Spanish, and Icelandic (no longer part of its alphabet but found in personal names), zê in Portuguese, zäta in Swedish, zæt in Danish, zet in Dutch, Indonesian, Polish, Romanian, and Czech, Zett in German (capitalised as noun), zett in Norwegian, zède in French, and zét in Vietnamese. Several languages render it as /ts/ or /dz/, e.g. zeta /tsetɑ/ or / tset/ in Finnish. In Standard Chinese pinyin, the name of the letter Z is pronounced [tsɨ], although the English zed and zee have become very common. In Esperanto, the name of the letter Z is pronounced /zo/.

in this issue

I

n most English-speaking countries, including the United Kingdom, Canada, India, Ireland, New Zealand, and Australia, the letter’s name is zed / zɛd/, reflecting its derivation from the Greek zeta (this dates to Latin, which borrowed X, Y, and Z from Greek, along with their names), but in American English its name is zee /ziː/, analogous to the names for B, C, D, etc., and deriving from a late 17th-century English dialectal form.

Another English dialectal form is izzard / ˈɪzərd/. This dates from the mid-18th century and probably derives from Occitan izèda or the French ézed, whose reconstructed Latin form would be *idzēta, perhaps a Vulgar Latin form with a prosthetic vowel. Its variants are

Introduction

C

DAINA KIM Graphic Design

6 Typographical Portfolio

Daina Kim - future graphic designer currently attending at fashion institute of design and merchandising. Still learning how to become a better graphic designer. These are just beginning stay tuned for amazing work.

This is just the first step to her big dream.

fonts 8 Typographical Portfolio

Aqua Grotesque Ailerons QuigleyWiggly Times New Roman Apple Chancery American Typewriter graphik African Helvatica Neue

Logo Design C

DAINA KIM Graphic Design

10 Typographical Portfolio

a

a

D ai n

im

im

D ai n

DAINA KIM

AINA

AINA

AINA

AINA Im

im

AINA Im

AINA

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AINA Im AINA

AINA

AINA

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im

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AINA

AINA

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C C CC CC C C CC C C Graphic Design

Alignment

Display type

Arrangement in a straight line, or in correct or appropriate relative positions.

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

Drop Cap

fi

Ligature

A

large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.

A thing used for tying or binding something tightly.

☛

Ellipsis

Bullet

A small symbol, such as a solid circle, printed just before a line of type, such as an item in a list, to emphasize it.

Dingbat

✔

A typographical device other than a letter or numeral (such as an asterisk), used to signal divisions in text or to replace letters in a euphemistically presented vulgar word.

Alphanumeric

XI

A character that is either a letter or a number.

...

The omission from speech or writing of a word or words that are superfluous or able to be understood from

Blackletter An early, ornate, bold style of type, typically resembling Gothic.

Grotesque

Q

A very ugly or comically distorted figure, creature, or image.

12 Typographical Portfolio

Typeface is a type of serif typeface characterized by thick, block-like serifs.

Oblique Neither parallel nor at a right angle to a specified or implied line; slanting.

HI Reversed Move backward.

Distressed A slanting version of a face.

Oblique is similar to italic but without the script quality of a true italic.

TYPOGRAPHICALTERMS

Slab Serif

KI M

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BY

Ty us

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AP

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ike any other creative pursuit, the design of letterforms is determined by the prevailing cultural climate and thus in a state of constant flux. Typography now functions as a kind of weathervane for the zeitgeist, with typographic analysis a leading design issue. Indeed, as designers have sought to express themselves and define their time, type has increasingly come to have its own intentions, beyond those of verbal communication.

From its first printed appearance in the West, type drew on existing forms, with the results then impacting on future designs. The letters printed in Renaissance Europe by Johann Gutenberg were a direct interpretation of the ornate gothic handwriting of the day; black-letter, in movable, reusable hot metal. Black-letter would also influence the first italic type cut by Francesco Griffo, which was largely informed by 16th century Italian handwriting. But it was the renewed interest in classic Greco-Roman culture, rather than technological development, that would see our standard roman alphabet find its definitive printed expression.

14 Typographical Portfolio

The early Humanist faces derived their majuscules from stonecarved Roman capital letters (hence the serifs) while their minuscules were adapted from the formal calligraphy of scribes.

The more successful types revealed an ability to differentiate the written from the printed character, as evidenced by the letters of Nicolas Jenson.

Extremely well-proportioned and unifiewd in form, Jenson’s type reconciled capitals with small letters and provided the blueprint for future letterpress faces.

Our more familiar Baroque types

of the 17th century were designed

by Claude Garamond and, later, William Caslon. Displaying low stroke contrast and a diagonal stress derived from Italian cursive, they were elegant and highly legible, their dominance only challenged by the work of John Baskerville in the mid-18th century. His strongly vertical Neoclassical faces were based on earlier French grid-based designs and introduced the contrasting stroke weights which were to reach their apotheosis in the coming Romantic faces of Giambattista Bodoni and Firmin Didot.

The influence of calligraphy now diminished as punchcutting evolved and letterforms began to echo their metal origins.

Improved technologies had gradually facilitated fine detail like unbracketed hairline serifs and high stroke contrast. As a result these sophisticated designs earned type a newfound importance in their ability to command attention. This was timely as the next phase would require and produce various distinctive faces, though the beauty of their form would be contested.

“Writing is words made visible.

In the broadest sense, it is everything— pictured, drawn,or arranged—that can be turned into a spoken account.

The fundamental purpose of writing is to convey ideas. Our ancestors, however, were designers long before they were writers, and in their pictures, drawings, and arrangements, design played a prominent role in communication from the very beginning”.

Elements of Design

16 Typographical Portfolio

ELEMENTS OF DESIGN

tyle

Swiss style is a graphic design style develped in Switzerland in the 1950s. That emphhasizes cleaniness, readablilty and objectivity Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces and flush left, ragged right text. The style has a preference of photography. Many of the early international typographic style works featured typography as a primary design element and it is for this that the style is named.

A graphic design style that emphasized simplicity, readabiity, and neutrality. A rigid grid structure was often used to order elements, and simple photography and typography were preferred over more complex graphics.

DESIGNED BY

Character Studies

18 Typographical Portfolio

Q

!

S A &Z

Q

CHARACTER STUDIES

N

a

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.)

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.

20 Typographical Portfolio

A

A Times Roman

Stanley Morison, typographic advisor to Monotype, was also made typographic advisor to The Times of London newspaper in 1929. One of his first responsibilities in the latter position was to redesign the newspaper. Several existing typestyles were tried as replacements for the typeface the newspaper had been using for years; but Morison and The Times executive staff found them unsuitable for one reason or another. The decision was then made to create a new, custom, design.

CHARACTER STUDIES

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.

22 Typographical Portfolio

Q

Q Helvetica Neue

Helvetica 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 a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, compact appearance.

CHARACTER STUDIES

T

&

&

he ampersand can be traced back to the first century AD. It was originally a ligature of the letters E and T (“et” is Latin for and). If you look at the modern ampersand, you’ll likely still be able to see the E and T separately. The first ampersands looked very much like the separate E and T combined, but as type developed over the next few centuries, it eventually became more stylized and less representative of its origins. The modern ampersand has remained largely unchanged from the Carolignian ampersands developed in the ninth century.

Italic ampersands were a later ligature of E and T, and are also present in modern fonts. These were developed as part of cursive scripts that were developed during the Renaissance. They’re often more formal-looking and fancier than the standard Carolignian ampersand. The word “ampersand” was first added to dictionaries in 1837. The word was created as a slurred form of “and, per se and”, which was what the alphabet ended with when recited in Englishspeaking schools. (Historically, “and per se” preceded any letter which was also a word in the alphabet, such as “I” or “A”. And the ampersand symbol was originally the last character in the alphabet.) The ampersand is a part of every roman font. It’s used in modern text often, probably most frequently in the names of corporations and other businesses, or in other formal titles (such as Dungeons & Dragons).

24 Typographical Portfolio

& A

y r e c n a h C e l p p

The Mac calligraphy connection doesn’t end there. Two of Reynolds’ former students, Bigelow and his partner Kris Holmes, designed several later fonts for Apple, including the Lucida family — Lucida Grande is the current default font on the Mac toolbar — and new versions of Chicago, Monaco, Geneva, and New York.

Apple Chancery, which they also designed, is based closely on Reynolds’ own italic lettering, and Bigelow and Holmes used their college textbook as a model during the design process (Holmes has said she wanted to call it Scheherazade, for the 1001 characters she and Bigelow created for the font, but that the name wouldn’t fit on a pull-down menu).

CHARACTER STUDIES

G

!

raphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point.

The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation”[3] or the “note of admiration” until the mid-17th century;[4] admiration referred to its Latin sense of wonderment.

The exclamation mark did not have its own dedicated key on standard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe. In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as “bang”, perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired,[8] although the nickname probably emerged from letterpress printing.[9] This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.

26 Typographical Portfolio

!

American Typerwriter American Typewriter is a slab serif typeface created in 1974 by Joel Kaden and Tony Stan for International Typeface Corporation. It is based on the slab serif style of typewriters; however, unlike most true typewriter fonts, it is a proportional design: the characters do not all have the same width.

CHARACTER STUDIES

G

S

reek did not have a // phoneme, so the derived Greek letter Sigma (S) came to represent the voiceless alveolar sibilant /s/. While the letter shape S continues Phoenician ĹĄĂŽn, its name sigma is taken from the letter samekh, while the shape of samekh but name and position of ĹĄĂŽn is continued in the xi.[citation needed] Within Greek, the name of sigma was influenced by its association with the Greek word ĎƒÎŻÎśĎ‰ (earlier *sigj-) “to hissâ€?. The original name of the letter “sigmaâ€? may have been san, but due to the complicated early history of the Greek epichoric alphabets, “sanâ€? came to be identified as a

separate letter, M. Herodotus reports that “San� was the name given by the Dorians to the same letter called “Sigma� by the Ionians.

The Western Greek alphabet used in Cumae was adopted by the Etruscans and Latins in the 7th century BC, over the following centuries developing into a range of Old Italic alphabets including the Etruscan alphabet and the early Latin alphabet. In Etruscan, the value /s/ of Greek sigma (đ?Œ”đ?Œ”) was maintained, while san (M) represented a separate phoneme, most likely // (transliterated as Ĺ›). The early Latin alphabet adopted sigma, but not san, as Old Latin did not have a // phoneme.

28 Typographical Portfolio

S

S

Graphik

In a sweltering typographic climate that favours ‘organic’ look-atme typefaces bursting with a thousand OpenType tricks, Graphik is a refreshing splash of cool rationality. Its serious, pared-back forms reference classic sans serifs but remain thoroughly modern and never get frigid. Any designer worth their salt needs to turn away from the screen & pick up the latest copy of Wallpaper* magazine. There you will find one of the most beautiful, restrained sans serifs designed in a very long time.

CHARACTER STUDIES

I

Z

n most English-speaking countries, including the United Kingdom, Canada, India, Ireland, New Zealand, and Australia, the letter’s name is zed / zɛd/, reflecting its derivation from the Greek zeta (this dates to Latin, which borrowed X, Y, and Z from Greek, along with their names), but in American English its name is zee /ziː/, analogous to the names for B, C, D, etc., and deriving from a late 17th-century English dialectal form.

Another English dialectal form is izzard / ˈɪzərd/. This dates from the mid-18th century and probably derives from Occitan izèda or the French ézed, whose reconstructed Latin form would be *idzēta, perhaps a Vulgar Latin form with a prosthetic vowel. Its variants are

Z

still used in Hong Kong English although they are usually seen as mispronunciations.

Other languages spell the letter’s name in a similar way: zeta in Italian, Basque, Spanish, and Icelandic (no longer part of its alphabet but found in personal names), zê in Portuguese, zäta in Swedish, zæt in Danish, zet in Dutch, Indonesian, Polish, Romanian, and Czech, Zett in German (capitalised as noun), zett in Norwegian, zède in French, and zét in Vietnamese. Several languages render it as /ts/ or /dz/, e.g. zeta /tsetɑ/ or / tset/ in Finnish. In Standard Chinese pinyin, the name of the letter Z is pronounced [tsɨ], although the English zed and zee have become very common. In Esperanto, the name of the letter Z is pronounced /zo/.

30 Typographical Portfolio

Z

Gotham

Ours is the first century in which most mass-produced letters can correctly be called “typography.� Technically speaking, typography is the product of type, the individual, recombinable characters in a typeface that are designed for printing words on paper. A century ago, a book’s pages contained typography, but its cover, spine, and illustrations featured lettering, each of the product of an artist working by hand in a different medium. Because letters made by hand had no obligation to resemble the look of printing types, different media evolved their own aesthetics: lithographed posters, engraved banknotes, and neon signs once enjoyed unique alphabetic styles.

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Logo Sketches 50 Typographical Portfolio

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W X B The Museum of Modern Typography

r e s e n the Typographical work of s

david carson

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H KZ Museum of Modern Typography

221 South Grand Avenue Los Angeles, CA 90019

www.museumofmoderntypography.com

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