Portfolio
TYPOGRAPHIC
An
EXPLORATION OF THE HISTORY, USAGE AND TERMINOLOGY OF TYPE AS USED IN THE GRAPHIC ARTS.
SPRING 2016 FASHION INSTITUTE OF DESIGN & MERCHANDISING
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CONGER HE G R A P H I C
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D E S I G N
ype, one of the most common object we see everyday, have hidden wealth of knowledge in between those characters. Typograph could be logical, elegant, but the sametime, fancy and playful. But whether kind of designer we are, the only purpose as a graphic designer, is to catch your eyes, and get you to read the message. Like Milton GRAPHIC DESIGN Glaser said:"There are three responses to a piece of design – yes, no, and WOW! Wow is the one to aim for.”
CONGER HE
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TYPOGRAPHY PORTFOLIO
Contents TYPOGRAPHICAL TERMS
5
LOGO DESIGN
6
CHARACTER STUDYS
12
UBIQUITOUS TYPE
14
SKETCH BOOK
16
NEWSLETTER
20
POP!
22
"An exploration of the history, usage and terminology of type as used in the graphic arts."
Font Used
D
idot Cezanne Edwardian Script ITC Helvetica Neue Helvetia Oblique Sanchez Italic Dingbat Broken Planewing(BlackLetter) Schkorycza Allura Blackletter Modern No. 20 Comic Sans MS Minion Pro Times New Roman Seqoe Script Monotype Corsiva
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Grotesque
Typographical Terms Illustrated
T
his group features the early (19th century to early 20th) sans-serif designs. Influenced by Didone serif fonts of the period and signpainting, these were often quite solid, bold designs suitable for headlines and advertisements.
Display B
ig type behaves differently than little type. Things like “optical alignment” and “typographic mood” take on new meaning. The sections that make up this module provide a solid foundation for creating good display typography.
Cursive C
ursive is a style of writing in which all the letters in a word are connected. It's also known as script or longhand.
12 pt. rule 12 pt. rule 12 pt. rule
I
n print, the most comfortable range for body text is 10–12 point. On the web, the range is 15–25 pixels. Not every font appears equally large at a given point size, so be prepared to adjust as necessary.
Hairline Rule Slab serif Reversed 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, the thinnest graphic rule (line) printable on a specific output device.
S
lab Serif is a type of serif font that evolved from the Modern style. The serifs are square and larger, bolder than serifs of previous typestyles. Often called Egyptian fonts or Western fonts.
Black letter Diatressed T A
he Blackletter typeface was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs.
distressed face should look believably random, without obvious repeated motifs. Make sure you evaluate the face at the size you intend to use it. A face that looks great at 18 or 24 point might look contrived, overworked or repetitive on a billboard.
A
lighter typeface on a darker background, such as white text on a black background, is reversed type. With white on black, the background prints and the text is knocked out so that it doesn't print.
I
n America, 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.
Calligraphy C
alligraphy 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.
Transitional Oblique Kerning Ligatures fi ffi T
O
Swash
rop Cap D A
Dingbat
Tracking Serif I
he Antiqua or Old Style of type of the 16th and 17th centuries evolved into a serif typestyle known as Transitional. The primary characteristics of Transitional type is medium contrast between thick and thin strokes, less left-inclined axis than Old Style faces.
A
swash is a typographical flourish on a glyph, like an exaggerated serif. Capital swash characters, which extended to the left, were historically often used to begin sentences. There were also minuscule swash characters, which came either extending to the left, to begin words, or to the right to end them.
A
dingbat, sometimes more formally known as a printer's ornament or printer's character, is an ornament, character, or spacer used in typesetting.
bliques, on the other hand, are simply slanted versions of their roman companion with no major design differences, other than their angle. They are most often found in sans serif typeface families, although not all sans serifs have obliques as opposed to italics.
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 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.
K
erning refers to the adjustment of space between two specific characters, thus the term kerning pair. Most often, kerning implies a reduction of space, but it can also mean the addition of space. Kern pairs are created to improve the spacing between two letters when the normal spacing is less than ideal.
T
wo 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.
Bullet ( · ) Glyphs abc
I
n typography, a bullet is a typographical symbol or glyph used to introduce items in a list. The bullet symbol may take any of a variety of shapes, such as circular, square, diamond or arrow.
I
n typography, a serif is the little extra stroke found at the end of main vertical and horizontal strokes of some letterforms.
T
he shape given in a particular typeface to a specific grapheme or symbol. Most commonly glyphs are letters and numerals, but punctuation marks and symbols and shapes are also glyphs..
Handlettering L
ettering done by hand. HandLettering can be simply defined as “the art of drawing letters”. Whereas typography is a craft that has been practiced since the Gutenberg’s invention of the movable type.
LOGO DESIGN
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M M &
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THE MUSEUM OF MODERN TYPOGRAPHY LOS ANGELES, CALIFORNIA
CONGER HE G R A P H I C
Ampersand Design Studio
D E S I G N
MMO
CONGER HE
THE MUSEUM OF MODERN TYPOGRAPHY
GRAPHIC DESIGN
LOS ANGELES, CALIFORNIA
& O m
Ampersand Design Studio
THE MUSEUM OF MODERN TYPOGRAPHY
C
HARACTER
STUDIES
8 TYPOGRAPHY PORTFOLIO
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.
The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language. The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter. There are 25 more stories.
CHARACTER STUDIES
The Letter V
T
here was no letter U in the alphabet. Well, that’s not the entire story. There was the sound for the letter we call U, but it didn’t look like U. It looked like V. The Classical Latin alphabet had only 23 letters, not the 26 that we have today. (This is why the W looks like a double V but is pronounced like a double U. Learn more about the history of W here.) For a very long time, U and V were allographs. What’s an allograph? An allograph is a variation of a letter in another context. Uppercase and lowercase letters are allographs. Before the use of the letter U, the shape V stood for both the vowel U and the consonant V. In the picture below you can see the letter V used in places were it would be pronounced as a U. The letters begin to look different in the Gothic alphabet in 1386; however the use of the u was not widespread. When scribes did use a u, it was in the middle of words, e.g. save was saue, but upon was vpon. It wasn’t until printing standardized letter shapes in the 1600s that the letter U became regularly used. First, in the 1500s, Italian printers started distinguishing between the vowel U and the consonant V. However, the V continued to be used for the U sound at the beginning of words. In 1629, the capital U became an accepted letter when Lazare Zetzner, a printer, started using it in his print shop.
A
ncient Corinthian vase depicting Perseus, Andromeda and Ketos. The inscriptions denoting the depicted persons are written in an archaic form of the Greek alphabet. Perseus (Greek: ΠΕΡΣΕΥΣ) is inscribed as ΠΕΡΣΕVΣ (from right to left), using V to represent the vowel.
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During the Middle Ages, the letter “V” was interchangeable with the letter “U.” Later the two were differentiated by their placement in a word. When the letter came at the beginning of a word, a “V” was used; when it came within a word, a “U” was used.
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In Ancient Rome, the same symbol--V--was used for both. This letter was also used to represent the number five because of the counting practice of notching a “V” to represent five. In some Latin grammar texts, the letter “V” was called the “consonantal U,” but it became an official letter in the late 1700s due largely to the advent of the printing press which required differentiation between “U” and “V.” In Greek, the letter upsilon ‘Υ’ was adapted from waw to represent, at first, the vowel [u] as in “moon”. This was later frontednto [y], the front rounded vowel spelled ‘ü’ in German. In modern usage, a “V” is not used like most other consonants in that it does generally not do uble to make a short vowel sound.
CONGER HE G R A P H I C
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OSTER DESIGN
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The Museum of Modern Typography Presents an exhibit of the creator of the fashion font
DIDOT
Modern typefaces, characterized by consistently horizontal stress, flat and unbracketed serifs, and a high contrast between thin and thick strokes, were the f inal step in typography’s two-hundred-year journey away from calligraphy. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: in Parma, Giambattista Bodoni (1740-1813), and in Paris, Firmin Didot (1764-1836). Didot was a member of the Parisian dynasty that dominated French typefounding for two centuries, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style. The font, Didot, is used as the masthead for both Vogue and Harpers Bazaar.
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JUNE 21-SEPTEMBER 18, 2016
MMO
THE MUSEUM OF MODERN TYPOGRAPHY
THE MUSEUM OF MODERN TYPOGRAPHY 2 2 1 S O U T H G R A N D AV E N U E LOS ANGELES 90012
www.museumofmoderntypography.com
Ubiquitous Type
T
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 hidden.This book has therefore grown into somthing 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 rightthinking 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 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
The presence of typography both good and bad, can be seen everywhere.
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 havea 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 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. 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.
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�
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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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KETCH BOOK
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NEWSLETTER
20 TYPOGRAPHY PORTFOLIO
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Week of April 22-30
Costume Exhibition Closing Soon!
Design Studio West is now open!
Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30! The show features costumes from 23 films, including Star Wars, Cinderella, Crimson Peak, and the Oscar winner for Best Costume Design Mad Max: Fury Road. The Museum is always FREE, and students receive a 20% discount in the Museum Store!
Instructor-led workshops in Photoshop/Illustrator & Sketching have begun. Stop by the IDEA Center or check the FIDM Portal for a schedule of instructors.
Tuesday – Saturday, 10 a.m. – 5 p.m
UNE 2016 GRADS MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016. E-Exits are available online at WWW.UASEXIT.COM COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held. If you have any questions, please call Evelyn Garcia at (213) 624-1200 ext 4292 or stop by Room 401-N. Before Monday, May 16th. 2016
Help is Here for the Asking
Assistance is available in writing, mathematics, accounting, statistics, critical thinking, time management, and much more. Come to the IDEA Center, located in the Design Studio East on the ground floor of the Annex. M – Th: 8:00 – 5:00 p.m F: 8:30 a.m. – 4:00 p.m x3225 or x4558
Design Studio West Hours M – F 8:30 a.m. – 6:00 p.m
GUESS? Inc. Sustainable Product Lifecycle Course
In partnership with Guess?, Inc. FIDM is developing a sustainability course on "The Sustainable Product Lifecycle". 15 selected students will be immersed in hands-on course work, labs and field trips to enable them to understand, create and analyze innovative practices aiming to reduce a product’s impact on the global environment. This 8 week course will start July 2016 and will be held on Wednesdays from 12:00PM2:45PM. Applications for this FREE EXCLUSIVE course are available on the portal or in suite 201, desk 5. Application and written response is due April 28th. Please contact lnavas@ fidm.edu with questions. This course is open to all current FIDM students. Wednesdays from 12:00PM-2:45PM
Mother's Day Pop Up_At The FIDM Museum Shop Meet current FIDM student Sky Lim, and check out her unique line of leather accessories. Exclusively sold in the Museum Shop. Additional limited edition jewelry will be featured by alumna Rafia Cooper.
The FIDM Bookstore The FIDM Store is now carrying the Makeup Eraser! This amazing cloth uses only water to take off ALL of your makeup! Wow! Save yourself a trip to the beauty store and get it at The FIDM Bookstore! Quantity is limited, grab one before they’re all gone!
Travel to New York! Spend your quarter break exploring NYC! Sept 25 – Oct 1 meet with FIDM alumni who will share their industry experience. See a Broadway show, shop the stores for the latest trends, and experience the Big Apple! Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@ fidm.edu
FIDM Visit by Academic Partnerships (Transfer Schools from New York and London) Representatives from the Laboratory Institute of Merchandising (LIM) in Manhattan, New York will be on campus Monday April 25, 2016 and from Regents University (formerly AIU London) in London, England will be on campus Friday, April 29, 2016. If you interested in learning more about these transfer options or scheduling an appointment with the representatives from these schools contact Ben Weinberg in room 208A extension: 3405.
Career Center
FOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job # 65928, and sign up through Career Network. SAVE THE DATE, INDUSTRY EXPO on May 11 at 10:00 a.m. to 2:00 p.m. Come network with our industry partners. ALL STUDENTS AND ALUMNI ARE WELCOME. Wednesday, May 11 10:00 a.m. to 2:00 p.m
June 2016 Graduates!
Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the student portal? Any questions please see Elizabeth in room 313.
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TYPOGRAPHY PORTFOLIO
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TYPOGRAPHY PORTFOLIO
volume ten
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volume ten
larry rivers
visual project
roy lichtenstein
jasper johns
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visual project volume ten
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TYPOGRAPHY PORTFOLIO
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SPRING 2016
CONGER HE
FA S H I O N I N S T I T U T E O F D E S I G N & M E R C H A N D I S I N G
GRAPHIC DESIGN