An Exploration of the History, Usage and Terminology of Type as used in the Graphic Arts
T Y P O G R A P H Y
P O R T F O L I O
Winter 2016
the fashion institute of design & merchandising Š
I am an aspiring graphic designer with a high concentration focused towards Entertainment and Branding, hooked with a keen interest in Web Design and Coding. When approached outside these walls, I’m either doodling my fears and anxieties away, or creating very rare playlists on Soundcloud, or singing and writing my own.
“Tell me and I forget, teach me and I may remember, involve me and I learn.” Benjamin Franklin
logo design character studies calendar design poster design business cards ubiquitous type sketch book pop! typographical terms
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CHARACTER STUDY | THE LETTER A
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 upsidedown V looked like the hump of a camel. The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At various times in ancient Greek history, the gamma looked like a one-sided arrow pointing up, an upside-down L, or a crescent moon. Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians. The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds. The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’
Didot
The Didot Font Family began in Paris when Firmin Didot began work on a collection of related type fonts. At the time the Didot family owned the most influential and successful print shop and font foundry in France. In fact, they were the King’s printers with seven members of the family working in some capacity in the varied branches of the book trade. Firman Didot completed the development and began to cut the letters and cast them between 1784 and 1811. His brother Pierre used the type for his printing business including the now famous edition of Voltaire’s La Henriade which has been long considered his masterpiece. The typeface was known for its increasing stroke contrast and more condensed armature, much like John Baskerville’s fonts of the time.
Elevation of a G
FUTURA
Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922.
The letter R is a more exceptional character than it first appears. It’s not a P with a tail or a B with a broken bowl; when drawn correctly, the R is rich with subtle details and delicate proportions. It can be the most challenging letter for type designers to create, and the most – dare we say – rewarding. There is an Egyptian hieroglyphic on the Rosetta Stone that represents the consonant sound of R. The symbol is called “ro” and was drawn in the shape of a mouth. In hieratic writing, the symbol was elongated into more of a capsule shape. The Phoenician sign for the ‘r’ sound was called “resh,” their word for head. Resh bore no resemblance to the Egyptian ro; it was depicted in the Phoenician alphabet by what we assume to be a simple rendering of a leftfacing human profile. By 900 B.C. the Greeks had adapted the Phoenician letter and called it “rho.” The Greeks reversed the orientation of the head’s left-facing profile, which you might consider a step in the right direction toward creating the R. But they also converted the curve of the face into an angular form. The curve was eventually restored, and the letter ended up looking much like our P.
CHARACTER STUDY | THE LETTER R
elevation of a r
Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled. In America, with the expansion of the commercial printing industry in the first years of the 19th century, it was inevitable that someone would perfect a process for cheaply producing the large letters so in demand for broadsides. Wood was the logical material because of its lightness, availability, and known printing qualities.
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The Museum of Modern Typography presents the work of
221 S. Grand Avenue Los Angeles, CA
Michelle M Kim Graphic Design
+ 714.132.9009 t + kmichelle@gmail.com + emdesign.com w
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714 132 9009 t kmichelle@gmail.com E emdesign.com W
Michelle M Kim Graphic Design
714 132 9009 t kmichelle@gmail.com E emdesign.com W
UBIQUITOUS The presence of typography both good and bad, can be seen everywhere.
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�
ypography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letter forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the 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,6and 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 precisely the use of a road: to reach individually chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist. 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 with the mutable or Renaissance Italy. The principles that unite these distant schools of design are based on the structure and scale of the human body - the eye, the hand, and the forearm in particular - and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to
call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads. Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of 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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frank o’ hara frank o’ hara frank o’ hara frank volume seven volume seven volume o’ hara frank o’ hara frank o’ hara frank o’ hara seven volume seven volume seven frank o’ hara frank o’ hara frank o’ hara frank volume seven volume seven volume o’ hara frank o’ hara frank o’ hara frank o’ hara seven volume seven volume seven frank o’ hara frank o’ hara frank o’ hara frank volume seven volume seven volume o’ hara frank o’ hara frank o’ hara frank o’ hara seven volume seven volume seven frank o’ hara frank o’ hara frank o’ hara frank volume seven volume seven volume o’ hara frank o’ hara frank o’ hara frank o’ hara seven volume seven volume seven frank o’ hara frank o’ hara frank o’ hara frank volume seven volume seven volume o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank seven volume seven volume seven o’ hara frank o’ hara frank o’ hara frank o’ hara volume seven volume seven volume frank o’ hara frank o’ hara frank o’ hara frank seven volume seven volume seven o’ hara frank o’ hara frank o’ hara frank o’ hara volume seven volume seven volume frank o’ hara frank o’ hara frank o’ hara frank seven volume seven volume seven o’ hara frank o’ hara frank o’ hara frank o’ hara volume seven volume seven volume frank o’ hara frank o’ hara frank o’ hara frank seven volume seven volume seven o’ hara frank o’ hara frank o’ hara frank o’ hara volume seven volume seven volume frank o’ hara frank o’ hara frank o’ hara frank seven volume seven volume seven o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank volume seven volume seven volume o’ hara frank o’ hara frank o’ hara frank o’ hara seven volume seven volume seven frank o’ hara frank o’ hara frank o’ hara frank o’ volume sevenvisual volume seven volume hara project issue one visual project issue one visual project issue
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