JUSTIN GONZALEZ WINTER 2017 GRAPHIC DESIGN
JUSTIN GONZALEZ
FASHION INSTITUTE OF DESIGN & MERCHANDISING
JUSTIN GON 2
T YPOGRAPHY PORTFOLIO
INTRODUCTION Typography is defined as the style, arrangement, or appearance of typeset matter. In terms of design, typography plays a huge role in the tone and overall feeling of your work. Type can be as subtle as a simple caption or as provocative as the main subject. Fonts can sometimes speak louder than the words themselves and can alter the way our audience percieves the information. This portfolio represents my journey and exploration through the science of TYPOGRAPHY.
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OSTRICH SANS IMPACT FUTURA HELVETICA ZAPF DINGBATS MINION PRO DIDOT PARIS PRO
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CHEAP INK KILLED MY PRINTER AMERICANA TIMES MAJESTI BANNER LUCIDA BLACKLETTER ENGLISH REGULAR AVER BLACK BRITTANIC BOLD
Letters associated with the art of calligraphy and the fonts developed from their production can be classified as calligraphic.
A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.
A type of serif typeface characterized by thick, block like serifs. Serif terminals may be either blunt and angular, or rounded.
Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. A display typeface is designed for the use of type at large sizes, perhaps 30 points or larger. The misuse of the term display typeface as a synonym for ornamental type has become widespread; properly speaking, ornamental typefaces are a subcategory of display typefaces.
Oblique type (or slanted, sloped) is a form of
type that slants slightly to the right, used in the same manner as italic type.
Blackletter typeface is recognizable by it
Also known as mortising is the process of adjusting the spacing between characters in a proportional font usually to achieve a visually pleasing result.
dramatic thin and thick strokes, and in some font the elaborate swirls on the serifs.
Also known as ornamental typefaces are used exclusively for decorative purposes, and are not suitable for body text.
Serif’s are semi-structural details on the ends of some of the strokes that make up letters and symbols. A typeface that ha serifs is called a serif typeface.
Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature.
Didone is a typeface classification characterized
slab like serifs without brackets; vertical orientation of wei axes. Horizontal parts of letters are thin in comparison to th vertical parts.
Cursive
Geometric sans-serif typefaces are based on geometric shapes. Note the optically circular letter “O” and the simple, single-story construction of the lowercase letter “a”.
Cursive typefaces are based upon the varied and often fluid stroke created by handwriting. They are organize into highly regular formal types similar to cursive writing and looser, more casual scripts. 88
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Is frequently used as a synonym with sans serif. At other times, it is used (along with “Neo-Grotesque”, “Humanist”, “Lineal”, and “Geometric”) to describe a particular style or subset of sans-serif typefaces.
Egyptienne is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters.
The style (a.k.a. Grunge) is a well-known phenomenon and genre in music, literature and other cultural spheres in the early 90ies. Within typography the trend was also apparent. Distressed means that the look is roughened in various degrees.
Hairline Rule
Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device. Hair or hairline is also a type of serif, the minimum thickness for a serif.
Dingbat: or Symbol, typefaces consist of symbols (such as decorative bullets, clock faces, railroad timetable symbols, CD-index, or TV-channel enclosed numbers) rather than normal text characters.
Reversed type refers to text that has a light color on a darker background. Reversed type doesn’t have to be white. The term is also used for text with a light color on a darker colored background.
D
rop Cap: 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.
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.)
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.
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AB
CHARACTER STUDIES •
Historians tell us that our current M started out as the Egyptian hieroglyph for “owl.” Over thousands of years, this simple line drawing was further distilled into the hieratic symbol for the ‘em’ sound. Eventually, the great-grandparent of our M looked a bit like a handwritten ‘m’ balanced on the tip of one stroke. The Phoenicians called the letter mem. It’s easy to see that the Phoenician mem is based on the Egyptian hieratic symbol, and that it’s the forerunner of the thirteenth letter of our alphabet. The mem looked much like our two-bumped lowercase ‘m’ with an added tail at the end.
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BOUT THIS FONT - AVENIR Adrian Frutiger designed Avenir in 1988, after years of having an interest in sans serif typefaces. In an interview with Linotype, he said he felt an obligation to design a linear sans in the tradition of Erbar and Futura, but to also make use of the experience and stylistic developments of the twentieth century.
CHARACTER STUDIES •
The letter ‘J’
originated as a swash letter i, used for the letter ‘I’ at the end of Roman numerals when following another ‘i’, as in ‘xxiij’ instead of ‘xxiii’ for the Roman numeral representing 23. A distinctive usage emerged in Middle High German.Gian Giorgio Trissino (1478–1550) was the first to explicitly distinguish I and J as representing separate sounds, in his Epistola del Trissino de le lettere nuωvamente aggiunte ne la lingua italiana (“Trissino’s epistle about the letters recently added in the Italian language”) of 1524. Originally, ‘I’ and ‘J’ were different shapes for the same letter, both equally representing /i/, and /j/; but, Romance languages developed new sounds (from former /j/ and /g/) that came to be represented as ‘I’ and ‘J’; therefore, English J, acquired from the French J, has a sound value quite different from /j/ (which represents the initial sound in the English word “yet”).
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Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931 and created by Victor Lardent in collaboration with the British branch of the printing equipment company Monotype. Although no longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution with Microsoft products and as a standard computer font, it has become one of the most widely used typefaces in history. Times New Roman’s creation took place through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal adviser to The Times, who recommended that they change typeface from the spindly and somewhat dated nineteenth-century Didone typeface previously used to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing of the period.
CHARACTER STUDIES •
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. 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 English-speaking 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.)
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CHARACTER STUDIES •
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.
Following the Bauhaus design philosophy, German type designer Paul Renner first created Futura between 1924 and 1926. Although Renner was not a member of the Bauhaus, he shared many of its views, believing that a modern typeface should express modern models rather than be a rivial of a previous design. Futura was commercially released in 1927, commissioned by the Bauer type foundry. While designing Futura, Renner avoided creating any nonessential elements, making use of basic geometric proportions with no serifs or frills. Futura’s crisp, clean forms reflect the appearance of efficiency and forwardness even today.
JUSTIN GONZALEZ
JUSTIN GONZALEZ
JUSTIN GONZALEZ
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JUSTIN GONZALEZ
UBIQUITOUS
TYPOGRAPHY makes at least two kinds of The presence of typography sense, if it makes any sense at all. It makes both good and bad, can visual sense and historical sense. The visual be seen everywhere. side of typography is always on display, and where ancient voices speak from all directions and new materials for the study of its visual form are ones move to unremembered forms. many and widespread. The history of letter- forms Typography thrives as a shared concern - and there and their usage is visible too, to those with access are no paths at all where there are no shared desires to manuscripts, inscriptions and old books, but from and directions. A typographer determined to forge new others it is largely hidden.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 “Typography is the craft of endo walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in durable visual form, and thus wi part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of routes must move, like other solitary travellers, through typography as I understand them are not a set of dead uninhabited country and against the grain of the land, conventions but the tribal customs of the magic forest, 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. If you use this book as a guide, by all means leave the road when you wish. 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
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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. 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
owing human language with a ith an independent existence.� 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. 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.
THOUGHTS ABOUT F
ON EACH SHOULDER
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FINALS.
WAS FEELING SOME STRESS FROM SCHOOL. MADE THIS AS MOTIVATION TO MYSELF.
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WAS BORED WITHOUT ANY INSPIRATION. FIRST THING THAT CAME TO MIND.
WAS NOT HAVING A GOOD DAY. DREW THIS TO INSPIRE MYSELF.
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Paul Renner was an eminent twentieth century German graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best known for designing Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. JUSTIN GONZALEZ
T YPOGRAPHY PORTFOLIO
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JUSTIN GONZALEZ