Esmeraldamolina single

Typogr Table of

portfolio An exploration of the the history, usage and terminology used in the graphic arts.

Fashion Institute of Design & Merchandising

Summer 2016

He

My name is Esmie Molina and I am in the Bachelor’s Program for Graphic Design at The Fashion Institute of Design and Merchandising.

My current goal is to graduate and then pursue a career in the Entertainment industry whether thats music, or movie posters. That’s what im striving for.

ello!

Table of contents

s

02 Contents 04 About me

06

FOnts used

08

10

28 lyric poster

terms

MUseum poster

character studies

22

logos

26

sketches

30

24 ubiquitous Type

32 pop!

Fonts Used

BEBAS NeuE Escapafina Ostrich Sans Reina Trocchi

Typographical terms

Typographical Terms Hairline Rule The Black Letter typeface was used in the Gutenberg Bible, one of the first books printed in Europe. It is recognizable by its dramatic thin and thick strokes, and the elaborate swirls on the serifs.

Cursive

Any style of penmanship in which the symbols of the language are written in a conjoined and/or flowing manner--making writing faster.

Drop Cap

A

drop cap is the first letter of a paragraph that’s of a much bigger size than the rest that follow. The letter formatting is such that the letter “drop down” to cover a few lines.

“Hairline” generally refers to a stroke or line smaller than 0.5pt wide.

Serif Serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. Serif fonts are widely used in traditional printed material.

Slab Serif A type of serif typeface characterized by thick, blocklike serifs. Serif terminals may be either blunt, angular, and also rounded.

T r a c k i n g ingat refers to a consistent degree of increase of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning.

Calligraphy Elegant handwriting or the art of producing such handwriting.

Non-alphanumeric glyphs.

Dingbat fonts consisting these characters are a source of graphic symbols.

Display There is less concern for readability and more potential for using type in an artistic manner.

Swash

A flourish addition replacing a terminal or serif. A swash is a typographical flourish on a glyph, like an exaggerated serif.

Oblique A form of type that slants slightly to the right. Compare to Italic.

Decorative Exclusively for decorative purposes, and are not suitable for body text. They have the most distinctive designs of all fonts.

Didone Characterized by slab-like serifs without brackets and a strong contrast between thick and thin lines. This typeface has an unornamented and “modern” appearance.

Kerning The process of adjusting the spacing between characters in a proportional font to achieve a visually pleasing result.

Distressed Type that is used for artwork or decorative purposes rather than printed material.

Typefaces that appear imperfect and a bit ragged

Geometric Geometric sans-serif typefaces are based on geometric shapes and have a very modern look and feel. They tend to be the least useful for body text.

Grotesque is frequently used as a synonym for sans serif.

Wood Type Type made from wood. Formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical.

Reversed Type that is printed light on a dark background or type printed dark on a light background.

characte

er Studies

For 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.

Caslon

Character Study | The Lette

Q

er Q

Considered the first original English typeface, it shares many characteristics of the Dutch Baroque type fonts of the era, and may be a variation on the Dutch Fell type fonts cut by Voskens or Van Dyck at that time. From 1725 through to 1730 three books printed by William Bower used roman and italic fonts cut

by Caslon. The fonts were popular throughout the British Empire including the American Colonies.

The popularity of the font diminished upon Caslon’s death but revived during the British Arts and Crafts movement of the 1840s to 1880s. Currently the Caslon font is in wide use and considered the standard for typesetters and printers.

a Character Study | The Letter A

N

o one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient 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.)

About This Font

Majesti Banner is the first release in a new family that will also include a text and display version in the future. Its high contrast letterforms, ball terminals, and variety of OT features make it a highly suitable typeface for large point settings.

Majesti Banner is available in 5 weights with matching italics, and is also available as a webfont.

&

Charac

giro

&

cter Study | The Ampersand

o Tofino

Antonio

The 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.

Character Study | The Le

S

ome believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the Alphabet was Made� recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds.

Arima Madurai

A

display font with soft edges and calligraphic feel is the main inspiration for Arima project. It has a low contrast to allow good rendering on screen. Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font to be used in headlines, brand names, and similar uses on the web.

etter...

Logos

ESMIE MOLINA

MO

EM

MOMT

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

T

ypography makes at least two kinds of sense, if it Letterforms change constantly, yet differ very little, makes any sense at all. It makes visual sense and because they are alive. The principles of typographic historical sense. The visual side of typography is clarity have also scarcely altered since the second half of always on display, and materials for the study of its visual the fifteenth century, when the first books were printed form are many and widespread. The history of letterin roman type. Indeed, most of the principles of legibility forms and their usage is visible too, to those with access to and design explored in this book were known and used by manuscripts, inscriptions and Egyptian scribes writing hieratic script with reed pens old books, but from others it is largely hidden. on papyrus in 1000 B.C. Samples of their work sit now in This book has therefore grown into some-thing more than museums in Cairo, London and New York, still lively, subtle, a short manual of typo-graphic etiquette. It is the fruit and perfectly legible thirty centuries after they were made. of a lot of long walks in the wilderness of letters: in part Writing systems vary, but a good page is not hard to learn a pocket field guide to the living wonders that are found to recognize, whether it comes there, and in part a meditation on the ecological principles, from Tang Dynasty China, The Egyptian New Kingdom survival techniques, and ethics that apply. The principles typographers set for themselves than with the mutable or of typography as I understand them are not a set of dead Renaissance Italy. The principles that unite these distant conventions but the tribal customs of the magic forest, schools of design are based on the structure and scale of where ancient voices speak from all directions and new ones the human body - the eye, the hand, and the forearm in move to unremembered forms. particular - and on the invisible but no less real, no less One question, nevertheless, has been often in my mind. demanding, no less sensuous anatomy of the human mind.

When all right-thinking human beings are struggling I don’t like to call these principles universals, because they to remember that other men and are largely unique to our species. women are free to be different,6 Dogs and ants, for example, read “Typography is the craft of and write by more chemical means. and free to become more different still, how can one honestly write a endowing human language But the underlying principles of rulebook? What reason and authority typography are, at any rate, stable with a durable visual exist for these commandments, enough to weather any number of suggestions, and instructions? Surely form, and thus with an human fashions and fads. typographers, like others, ought to Typography is the craft of independent existence.” be at liberty to follow or to blaze the endowing human language with a trails they choose. durable visual form, and thus with Typography thrives as a shared an independent existence. Its hear concern - and there are no paths at all where there are no It is true that typographer’s tools are presently changing shared desires and directions. A typographer determined to with considerable force and speed, but this is not a manual forge new routes must move, like other solitary travellers, in the use of any particular typesetting system or medium. through uninhabited country and against the grain of the I suppose that most readers of this book will set most of land, crossing common thoroughfares in the silence before their type in digital form, using computers, but I have no dawn. The subject of this book is not typographic solitude, preconceptions about which brands of computers, or which but the old, well- travelled roads at the core of the tradition: versions of which proprietary software, they may use. The paths that each of us is free to follow or not, and to enter essential elements of style have more to do with the goals and leave when we choose - if only we know the paths are the living, speaking hand - and its roots reach into living there and have a sense of where they lead.That freedom soil, though its branches may be hung each year with new is denied us if the tradition is concealed or left for dead. machines. So long as the root lives, typography remains a Originality is everywhere, but much originality is blocked source of true delight, true knowledge, true surprise. 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.

sketch book

lyric poster

Museum poster

he lv eti ca

elvetic

Designed by Max Miedinger

The Museum of Modern Typography Presents The Art of: Helvetica

he

Oct. 2- Mar. 25, 2017

MO

pop!pop!

frank o hara volume seven

larry rivers

visual project

roy lichtenstein in this issue: pop!

andy warhol jasper johns issue one

pop!

issue one roy lichtenstein jasper johns larry rivers

pop!

andy warhol frank o hara volume seven visual project in this issue:

andy warhol volume seven pop!

frank o hara

visual project issue one larry rivers roy lichtenstein in this issue: jasper johns

pop!

in this issue:

volume seven

visual project issue one andy warhol jasper johns roy lichtenstein larry rivers frank o hara

in this issue: ! p o ! p ! p p o ! o p p p o ! p p ! o p! op p! p p o o p ! p p o p

! p o ! p ! p p o o p ! p ! p p o o p p pop! roy lichtenstein jasper johns visual project frank o hara volume seven andy warhol larry rivers