Fabio gomez single by Randy Dunbar

TYPOGRAPHICAl

F G PORTFOLIO

Fabio GOMEZ GRAPHIC DESIGN

Fashion Institute of Design Merchandising An exploration of the the history, usage and terminology used in the graphic arts. Summer 2016

Fabio GOMEZ GRAPHIC DESIGN

BIOGRAPHY

Fabio Gomez was born and raised in Nipomo, California into a Mexican culture home along a big brother and his parents elena and jesus gomez. His biggest passion growing up was soccer,witch he hoped to turn it into a profession. throughout his early college education he met members of a clothing line(REALATIVE) and found his passion for graphic design. Unfortunately, as life happens Gomez had to enlist in the US ARMY, were he served three years in El Paso, Texas as a 19k Abrahms tanker. After his contarct ended Gomez returned to California to continue and developing his passion for graphic design. He enrolled in FIDM with a goal of graduating with a BA in Graphic Design and pursuing his career in entertainment. He also plans to develop and open his own business.

“AN ARTIST IS TO FIND THE BEAUTY OF LIFE IN WHAT THE EYE CAN’T SEE, FOR GOD IS IN NEED OF ARTISTS TO PAINT WHATS WITHIN THE GATES OF HEAVEN”

TABLE OF CONTENT

1. LOGOS TERMS 2. TERMS 3. CHARECTER STUDY 4. LOGOS 5. UBIQUITUOUS TYPE 6. SKETCHBOOK 7. LYRIC POSTER 8. MESEUM POSTER 9. POP!

FONTS

Ailerons Pirulen ChopinScript Minion Pro Microsoft Sans Edwardian Script ITC Rosewood Std PT Serif Didot Noteworthy Bauhaus 93 Haettenschweiler Mistral Blackoak Birch Std Herculanum Rockwell Extra Bold

Grotesque

These are the most common sans-serif typefaces. They are relatively straight in appearance and have less line width variation than Humanist sans-serif typefaces. Transitional sans-ser-

DISPLAY

Type set larger than 14 point is usually considered to be â&#x20AC;&#x153;displayâ&#x20AC;? type, whether it appears on a billboard or poster, a book jacket or other packaging, or an advertisement in a magazine. Also known as headline type, its objective is to attract and hold a viewerâ&#x20AC;&#x2122;s attention.

Cursive

Cursive, also known as longhand, script, handwriting, looped writing, joined-up writing, joint writing, or running writing 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 making writing faster

HAIRLINE

A thin stroke usually common to serif typefaces. Definition: In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths. Hairline is often used to refer to a hairline rule

Decorative

Serifs comprise the small features at the end of strokes within letters. The printing industry refers to typeface without serifs as sans serif.

Geometric

In typography, a sans-serif, sans serif, gothic, san serif or simply sans typeface is one that does not have the small projecting features called "serifs" at the end of strokes. The term comes from the French word sans, meaning "without" and "serif " from the Dutch word schreef meaning "line".

T|r|a|c|k|i|n|g In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning

Black

a heavy-faced type in a s pean hand lettering and

rop CapThe choic You can either use text or you can ch The effectiveness o depend on your choice of typ

Did

Didot. Didone is a genre of se late 18th century and is partic characterized by: Narrow and

Slab

In typography, a slab serif (al serif, antique or Egyptian) typ characterized by thick, block-

A typeface with serifs is c typeface). A typeface wit sans-serif, from the F

Egyp

In typography, a slab serif (also antique or Egyptian) typeface i te

Distre

The diagonal, vertical, or horizo the stroke of a letter is the stress nest points of the letter o and stress. A typeface with uniform

kletter

style like that of early Eurod the earliest printed books.

ce of typography is up to you. e the same font as in the body hoose different contrasting one. of the drop caps and initials will pe

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erif typeface that emerged in the cularly popular in Europe. It is d unbracketed (hairline) serifs.

serif

lso called mechanistic, square peface is a type of serif typeface -like serifs.

erif

called a serif typeface (or serifed thout serifs is called sans serif or French sans, meaning "without".

ptian

called mechanistic, square serif, is a type of serif typeface characerized by thick, block-like serifs.

essed

ontal thick-to-thin transition in s. Draw a line through the thind you can easily see the angle of m strokes has no obvious stress.

An elegant extension on a letter form, either a modification of an existing part or an added-on part. ♦♥♣ ☎☝☯

Dingbat

Dingbats are not part of the text. A dingbat, sometimes more formally known as a printer’s ornament or printer’s character, is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames.

Reversed

Reversing type – that is, placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy.

Wood Type

The Hamilton Manufacturing Co. traces its roots back to the very first wood types made in the United States. Darius Wells produced the first American wood type in 1828;

Ligatrure(ffj)

Two or more letters are joined together to form one glyph or character. Definition: Two or more letters combined into one character make a ligature.

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, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted

calligraphy

Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, dip pen, or brush, among other writing instruments.

Ke‹›rning

In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.

CHARACTER STUDY|THE LETTER Q

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 The Greeks adopted the ooph, but found it difficult to pronounce, and changed it slightly to “koppa.” The Greeks also modified the design by stopping the vertical stroke, or tail, at the outside of the circle. The koppa, however, represented virtually the same sound as “kappa,” another Greek letter. One of them had to go, and koppa was ultimately the loser, perhaps because it had begun to look much like another Greek letter, the P. Unlike the Greeks, the Etruscans could live with the somewhat redundant nature of the koppa, and continued to use the letter. In fact, they had two other k-sound letters to contend with. The Romans elected to use all three signs when they adopted much of the Etruscan alphabet.

rrvrv

Minion is a serif typeface designed by Robert Slimbach in 1990 for Adobe Systems and inspired by late Renaissance-era type. The name comes from the traditional naming system for type sizes, in which minion is between nonpareil and brevier, with the type body 7pt in height.[1] As the name suggests, it is particularly intended as a font for body text in a classical style, neutral and practical while also slightly condensed to save space.[2] Slimbach described the design as having â&#x20AC;&#x153;a simplified structure and moderate proportions

CHARACTER STUDY THE LETTER 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.) 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.

Didot is a group of typefaces named after the famous French printing and type producing Didot family. The classification is known as modern, or Didone.

CHARACTER STUDY THE LETTER 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. 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.

Hellenica (Ἑλληνικά) simply means writings on Greek (Hellenic) subjects. Several histories of fourth-century Greece, written in the mold of Thucydides or straying from it, have borne the conventional Latin title Hellenica.

CHARACTER STUDY THE LETTER THE O Some 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. After finishing the A and Y (inspired by the mouth and tail of a carp), the child, Taffy, asks her father to make another sound that she can translate into a picture. O would serve perfectly well today, since round remains the defining property of the letter. Actually, the O did start out as a drawing of something, but not an egg or a stone, or even a mouth. The true ancestor of our O was probably the symbol for an eye, complete with a center dot for the pupil. The symbol for eye, “ayin” (pronounced “eye-in”) appears among the Phoenician and other Semitic languages around 1000 B.C. The Greeks adapted the ayin to their communication system and used it to represent the short

vowel sound of ‘o.’ The Greeks also changed the name of the letter to Omicron. (The Omega is another Greek O, which they invented to represent the long ‘o’ sound.) While the Phoenicians and the Greeks drew the letter as a true, nearly perfect circle, the Romans condensed the shape slightly to be more in keeping with their other monumental capitals.

Cooper Black is a heavily weighted, display serif typeface designed by Oswald Bruce Cooper in 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style.

CHARACTER STUDY THE LETTER THE AMPERSAND

he letters of the Latin alphabet haven’t changed in eons, and there is limited latitude in how much a designer can modify or embellish the basic shapes. The ampersand, however, is a shinning example of an exception to the rule. It has a well-deserved reputation as being one of the most distinctive and fanciful characters in the alphabet.

Rooted in the Latin “et” (meaning “and”), the ampersand is a ligature composed from the letters “e” and “t”. The word “ampersand” itself is an alteration of “et per se and,” which became corrupted to “and per se and”, and finally “ampersand.” The history of the ampersand dates back to 63 B.C.E., and was a commonly used character during the Incunabula. For example, a single page from a book printed by Aldus Manutius in 1499, has over twenty-five ampersands! Etymology Rooted in the Latin “et” (meaning “and”), the ampersand is a ligature composed from the letters “e” and “t”. The word “ampersand” itself is an alteration of “et per se and,” which became corrupted to “and per se and”, and finally “ampersand.” The history of the ampersand dates back to 63 B.C.E., and was a commonly used character during the Incunabula. For example, a single page from a book printed by Aldus Manutius in 1499, has over twenty-five ampersands!

Today, however, the ampersand has relatively limited uses. The Chicago Manual of Style doesn’t even address ampersands, except to say that it’s OK to spell them out at your own discretion, and the Associated Press Stylebook explicitly bans the ampersand from anything but a proper name or an abbreviation like “B&B” for “bed and breakfast.” While playing fast and loose with ampersands isn’t a good idea, and client guidelines should always be respected, there are times when a little ampersand creativity can produce excellent typographic results. The following are a few guidelines and suggestions for getting a little more from this special character. Little Ampersands The ampersand in the italic designs of the Bulmer®, New Caledonia®, and ITC Legacy® Serif typeface families is in keeping with lowercase proportions, but the majority of ampersands are of the capital variety – and these can pose a problem when used in text copy. Like ranging numbers, big ampersands in a line of lowercase letters can stand out too much, disrupting the flow of the eye across a page.

In 1925, Gropius commissioned Bayer to design a typeface for all Bauhaus communications and Bayer excitedly undertook this task. He used his approach to modern typography to create an “idealist typeface.” The result was “universal” a simple geometric sans-serif font

FONTS

Fabio GOMEZ GRAPHIC DESIGN

REALATIVE

MO MT

MESEUM OF MODERN TYPOGRAPHY

Ubiquitous TYPE

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 letterforms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hid- den.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, and free to become more different still, how can one honestly write a rulebook? What reason

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

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 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 they exist. 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 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 “Typography is the craft of endowing human the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call language with a durable visual form, and thus these principles universals, because they are largely unique with an independent existence.” 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, of 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.

SKET CHES

L YP RO IS CT E R

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S O P ER T

THE MUSEUM OF

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MODERN TYPOGRAPHY PRESENTS THE ART OF

ockwell

By Frank Hinman

MO MT

OCT 2 March 25 2016 MUSEUM OF MODERN TYPOGRAPHY

Definition of Rockwell hardness. : the hardness of a metal or alloy measured by an apparatus in which a diamond-pointed cone is pressed into the metal to a standard depth to determine the relative resistance to penetration as indicated automatically by a number on a dial. Definition of Rockwell hardness. : the hardness of a metal or alloy measured by an apparatus in which a diamond-pointed cone is pressed into the metal to a standard depth to determine the relative resistance to penetration as indicated automatically by.

221 S Grand Ave, Los Angeles CA 90012 www.momt.com

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volume seven volume seven volume seven volume seven volume seven volume seven

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volume seven volume seven

volume seven

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volume seven volume seven

volume seven

volume seven volume seven volume seven

volume seven

volume seven volume seven

volume seven

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volumeseven seven volume volume seven

volume seven

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