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Typographical Portfolio

Fashion Institute Of Design + Merchandising Winter 2017

An exploration of the history, usage & terminology used in Graphic Arts

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Typography in a few words...

T

ypography is:The study of the design of typefaces, and the path in which the typeface is laid out on a page to best accomplish the coveted visual impact and to best pass on the importance of the perusing matter. Typography is, basically, the workmanship and method of masterminding type. It's key to the work and aptitudes of a creator and is about considerably more than making the words neat.Your choice of typeface and how you make it work with your layout, grid, color scheme, design theme and so on will make the difference between a good, bad and great design.

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Section 1:(1-25) Fonts Used(8-9) Typographical Terms(12-13) Character Study(14-25)

Section 2 (26-38): Logo Design(28) Ubiquitous Type(32-33) Sketch Book(36-37) Poster Design(38) Section 3(40-50):

pop!(44-49) End

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Elephant Abel Didot Intro Helvetica Courier New DJB on the spot Almost Japanese Smooth Anglo Text AR Decode Arial Brett and Beer Hacked Impact Krinkers Decor Personal LHandW Minion Pro Plain Black Wide Rockwell Sylfaen Times Webdings Wingding Rex AR Berkley Granite Sofia Pro Altamonte NF AR Destine Futura Book Americana

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Hairine rule In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image.

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Ty rm po s Ill gra us ph tr y at ed

Te

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Character Studies | 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.)

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

Didot is a gr

French pri

the ox would have been an important

Didot’s type in

communication tool for the Phoenicians.

company of Fi

It somewhat naturally follows that an ox

typefaces were

symbol would be the first letter of the alphabet.

Didot (1764–1836

His brother, Pierre D

edition of L a Henriad

The typeface takes insp

increasing stroke contra

development of a high co to similar face

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His tor

inting and type producing Didot family.

n the C ode civil des Français, printed by the

t ido fD yO

roup of typefaces named after the famous

rmin Didot in 1804. The most famous Didot

e developed in the period 1784–1811. Firmin

6) cut the letters, and cast them as type in Paris.

Didot (1760–1853) used the types in printing. His

de by Voltaire in 1818 is considered his master work.

piration f rom John Basker ville’s experimentation with

ast and a more condensed armature. The Didot family’s

ontrast typeface with an increased stress is contemporar y s developed by Giambattista B odoni in Italy.

Character Studies: | J

T

he letters I and J follow each other in the alphabet and look a lot alike. So it comes as no surprise to discover that our ninth and tenth letters started out as the same character.

The Phoenician ancestor to our present I was a sign called “yodh,” meaning “hand.” The original Phoenician symbol evolved over time into a zigzag shape that was eventually adopted by the Greeks. The Greeks often simplified the symbols they borrowed, and the yodh was no exception. As used by the Greeks, the zigzag became a simple vertical line. The Greeks also changed the name of the letter to “iota.”

Iota was the smallest letter of the Greek alphabet and, as such, has come to mean “a very small amount.”

The word “jot” also derives (via Latin) from the Greek iota, and usually refers to a small note or mark.

Rockwell 18 Portfolio Savanna Fulcher

History of Rockwell

Rockwell is a slab serif typeface designed by the Monotype Corporation and released in 1934.The project was supervised by Monotype’s engineering manager Frank Hinman Pierpont. A serif at the apex of uppercase A is distinct. The lowercase a is two-storey. Because of its monoweighted stroke, Rockwell is used primarily for display or small-size use rather than lengthy bodies of body text. Rockwell is based on an earlier, more condensed slab serif design called Litho Antique. Rockwell is a “geometric” slab-serif, with a monoline construction with all strokes appearing to be roughly the same width and its capital ‘O’ roughly circular. This gives it a similar impression to common sans-serifs of the period like Akzidenz Grotesk, Franklin Gothic, or Futura. It is influenced by a style of geometric slab serif that had become popular released around the time, including the earlier Memphis and Beton, and less similarly Stymie and City. Rockwell has remained popular and been digitised, although a shadowed weight has not been.

Character Studies | M

Any

way you look at it, the S is a complicated letter. Not only is it one of the more challenging char to draw, but the story of its evolution has more twists, turns, and reverses than its sha The serpentine saga of our 19th letter gets its first false start with the early Egyptians and their hieroglyph for the ‘s’ sound, which was a drawing of a sword. Later, in the Egyptians’ hieratic writing, the sword was simplified until it looked more like a short piece of barbed wire than a weapon of war. When the Phoenicians built their alphabet on the Egyptian model, they rotated the piece of barbed wire 90 degrees and called it “sameth,” which meant a post. The Greeks adopted this letter but not as a true ‘s’ sound. Consider this a major reversal in the evolutionary road.

At the same time that the Egyptians were using the symbol of a sword to represent the ‘s’ sound, they also used a drawing that represented a field of land to represent the ‘sh’ sound. Like other hieroglyphs, the field symbol was simplified during the transition to hieratic writing. But unfortunately for the Egyptian scribes, the symbol’s usage became more complex. The reason? The Egyptians allowed as many as nine different versions of the symbol to exist at the same time.

There were so many, in fact, that one wonders howitheyikept track.

The Phoenicians dropped most of these Egyptian ‘sh’ characters and settled on something that looked like our W to represent the ‘sh’ sound in their language (the symbol, aptly, represented teeth). The Phoenicians called their version of the letter “shin” or “sin.”

The Greeks borrowed the shin from the Phoenicians but drew it with three, four, and sometimes even five strokes. In some cases it hardly resembled the original Phoenician symbol, but in each the basic zigzag shape of the letter was maintained. In its final Greek form the character became the sigma, which resembles our present capital M

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Character Studies | S

racters ape. s

Rex

HISTORY OF FONT

Rex is a font family with three weights – light, bold and bold inline – that was designed to create unique titles on the fly.

Created by Thaw Zin. It’s all caps font, but there is a difference between both – caps & small caps (see in the examples). Appli– cable for any type of graphic design – web, print, motion graph– ics etc and perfect for t-shirts and other items like posters, logos. Created:2012-02-13 revision:1 Glyphcount:236 UnitsperEm:1000 Embedding rights:Embedding for preview & printing allowed Family class:No classification Weight:Semilight Width:Condensed Mac style:Italic Direction:Only strongly lef t to right glyphs + contains neutr als Pattern nature:Regular. Rex is a very condensed typeface handwritten with small slab-serif and lowercase letters in small caps, the font has a large high contrast between the upper and lower case. It has a set of numbers in small caps.

Character Studies | O

S o m e 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.

‘Now

‘Oh!’ said her Daddy, very loud ‘Oh!’ said her Daddy, very loud T h a t ’s q u i t e e a s y, ‘ s a i d Ta f f y. Yo u m a k e y o u r m o u t h a l l a r o u n d That’squiteeasy,‘saidTaffy.Youmakeyourmouthallaround ike

make another noise, daddy.’ “ Now make another noise, daddy.’

an

‘You

egg an egg eggor aorstone a will stonedo for will that.’ do ike anoregga or stone. a stone.SoSo an

for

‘You can’t always eggs ororstones.

We’ll have t always find find eggs stones.

We’ll

have

can’t

scratc---h

scratch a roundsomething something like like one.’

And he this. a round one.’

Anddrewhe

that.’

“ drew

t this.

The father’s sketch of the first 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.)

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Intro W h a t d i s distinguishes t i n g u i s h e s theinewiIntroifreeifont from FontFabric is the strongly expressed geometricmakeup and structure.

The basic letters of the Alphabet like “A”, “O” and “H” are built or based on principles of simple geometric forms triangles, circles and squares. In contrast to the Futura font which possesses similar styling, the Intro font preserves the characteristic sharpened edges of the “А”, “V” and “W” letters even in it’s boldened form. In Use” samples was designed by Miroslav Bekyarov for Fontfabric. contrast to the Futura font which possesses similar styling, the Intro font preserves the characteristic sharpened edges of the “А”, “V” and “W” letters even in it’s boldened form. “In Use” samples was designed by Miroslav Bekyarov for Fontfabric.

History Of Intro Inline

Character Studies | &

Granite

A semi text type with thin stresses, in Granite Semi Stencil the overall weight of the Granite Regular has been decreased by a set unit which has obliterated the stress to leave white space. This gives the typeface an idiosyncratic almost arbitrary take on the utility Stencil aesthetic.

Sofia Pro

The goal of this new type was to create a sans serif font which give an impression of both modernism, harmony and roundness. These nuances give Sofia a harmonious and sensible appearance for both texts and headlines.

This typeface is a complete redesign of Sofia initially designed in 2008. this typeface supports a wide range of languages with more than 500 glyphs. This new version has also more OpenType features like case sensitive forms, ,small caps, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures‌

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Ampersand

The

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.

Elephant

The Elephant font was designed by Matthew Carter, one of the most-praised type designers of our time. Elephant and Elephant italic are a careful re-working of a traditional English extrabold serif style. Originally, Elephant appeared in posters, often alternating from roman to italic on successive lines. In Europe, typefaces of this kind still may be used in very small sizes for telephone numbers in letterheads and business cards. Today, the best use of Elephant is for an eye-catching word. Even a single quote will draw the reader's eye to where it is placed.

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SF

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Savanna Fulcher Graphic Design

Typography

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Ubiquitous

typographers, like others, ought to be at liberty to follow or to blaze the trails they choose.

Typography thrives as The presence of typography a shared concern - and both good and bad, can be there are no paths at all seen everywhere. 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 conventions but the tribal thoroughfares in the silence ypography makes at customs of the magic forest, before dawn. The subject of least two kinds where ancient voices this book is not typographic of sense, if it speak from all solitude, but the old, wellmakes any sense at directions and travelled roads at the core of all. It makes visual new ones move to the tradition: paths that each sense and historical unremembered of us is free to follow or not, sense. The visual forms. and to enter and leave when side of typography One question, we choose - if only we know is always on display, nevertheless, has the paths are there and have and materials for the study been often in my mind. a sense of where they lead. of its visual form are many When all right-thinking human That freedom is and widespread. The history beings are struggling to denied us if the of letter- forms and their remember that other men tradition is usage is visible too, to those and women are free to concealed or with access to manuscripts, be different,6 left for dead. inscriptions and and free to become Originality is old books, but from others it is more different still, how everywhere, largely hid- den. can one honestly write but much This book has therefore a rulebook? What reason originality is grown into some-thing more and authority exist for these blocked if the way back than a short manual of typocommandments, suggestions, to earlier discoveries is cut graphic etiquette. It is the fruit and instructions? Surely or overgrown. If you use of a lot of long walks in the this book as a guide, by all wilderness of letters: in part a means leave the road when pocket field guide to the living you wish. That is pre- cisely wonders that are found there, the use of a road: to reach and in part a meditation on the individu- ally chosen points ecological principles, survival of departure. By all means techniques, and ethics that break the rules, and break apply. The principles of them beautifully, deliberately, typography as I understand and well. That is one of the them are not aset of dead ends for which they exist.

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Type

T

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 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

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

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The Letter T

Personal Logo

The Letter H

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ne u J

ep S 21

tember 18

,2 01 7

The Museum Of Modern Ty pography presents :

H E L V E T I C A

Max Miedinger

M O

M

T 221 South Grand Avenue Los Angeles 90022

www.museumofmoderntypography .com

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