typography portfolio Holly lundby fidm winter 2019
Table of Contents
HOLLY LUN
2-3
TABLE OF CONTENTS
4-5
LOGO DESIGN
6-7
INTRO
8-15
CHARACTER STUDIES
16-19
SKETCHES
20-21
TYPOGRAPHICAL TERMS
22-23
LOGO DEVELOPMENT
24-31
TYPOGRAPHER/MUSEUM BROCHURE
32-35
UBIQUITOUS LAYOUT
36-41
POP! PROJECT
42
FONTS USED
graphic designer
HOLLY
Intr
ro My name is Holly and I am a Graphic Design major at FIDM. This portfolio chronicles my work done this past winter in the Typography course.
character studies
CHARACTER STUDIES the letter 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 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. 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 history of BASKERVILLE Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master typefounder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface.
CHARACTER STUDIES the letter z
T
he twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet. They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning. Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface). The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the Romans conquered the Greeks. In order to write these words a Z was required, and so, several centuries after it was first banished from the Roman alphabet, the Z was allowed to return. However, because the letter was not a part of the traditional Roman language, the Z was relegated to the last spot in the alphabetical hierarchy. The Romans used the capital I form of the letter in their monumental inscriptions, but there are none to be found in the famous Trajan Column (since there are no Greek words inscribed there). It was only when the letter was written by scribes and calligraphers that the top and bottom strokes were offset from each other and connected by what became a diagonal, rather than vertical, stroke. The reason for this design change? Probably because it was quicker and easier to write. The lowercase ‘z’ is simply a smaller version of the capital, no doubt for the same reason.
about TIMES NEW ROMAN Stanley Morison, typographic advisor to Monotype, was also made typographic advisor to The Times of London newspaper in 1929. One of his first responsibilities in the latter position was to redesign the newspaper. Several existing typestyles were tried as replacements for the typeface the newspaper had been using for years; but Morison and The Times executive staff found them unsuitable for one reason or another. The decision was then made to create a new, custom, design. The criteria was simple: the new design would have to appear larger than its predecessor, could take up no more space, should be slightly heavier and, ultimately, must be highly legible.
the exclamation point
T
he exclamation mark is a close cousin to the question mark, just like the full stop to the comma. It is widely believed that it came from Latin “io”, which meant “hurray”, an exclamation of joy or wonder. Just like with “qo”, over time the “i” climbed onto the “o” and became “!” In the 15th century it was introduced into English printing and since then has been used in most Latin and Cyrillic based languages. An interesting side note, manual typewriters did not have a separate key for the exclamation mark until 1970s and were represented with a period and an apostrophe above it. These days the exclamation mark is also used as an warning, for example on road signs or electrical boxes, telling us to watched out for danger or hazards. The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation” or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment.
BASKERVILLE
TIMES NEW ROMAN
history of HELVETICA
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas Type Foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz Grotesk in the Swiss market. In 2007, director Gary Hustwit released a documentary film, Helvetica (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface. In the film, graphic designer Wim Crouwel said, “Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn’t have a meaning in itself. The meaning is in the content of the text and not in the typeface.” The documentary also presented other designers who associated Helvetica with authority and corporate dominance, and whose rebellion from Helvetica’s ubiquity created new styles.
{ HOLLY } graphic designer
{ HOLLY { graphic designer
holly { lundby { graphic designer
holly.
GRAPHIC DESIGNER
HOLLY LUNDBY
H O L LY LUNDBY
MAX HUBER 1919-1992 On June 5, 1919, Max Huber was born in Baar, Switzerland. Similar to his contemporary, Josef MĂźller-Brockmann, he also received his education from Kunstgewerbeschule in Zurich, under Hans Williman. He had the opportunity of making acquaintance with major artists of his time in his formative years. The artists included Carlo Vivarelli, Werner Bischof, Hans Falk and Josef MĂźller-Brockmann. Huber always worked as a freelance designer, collaborating directly with each client. He tried to find a balance between the needs of his clients and his own need to experiment. He loved innovatory research. He would not hesitate to withdraw when a client made a ridiculous request, but if the suggestion was useful he was willing to adapt his plans. He never used his images in a strict sense. He often mixed unframed flat photographic and typographic elements with strips of colour to convey a certain feeling of dynamism and speed. He used recognizable elements in his design, without having them tell a story. Huber favoured clarity, rhythm and synthesis. He used succinct texts, composed from different hierarchical groups; a large title with secundary information in a smaller type, a sequence of levels. Throughout the years he was not influenced by fashion, but held onto his basic ideas.
Type is everywhere – street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place. TERMINOLOGY EXPLAINED What’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used. Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font. Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:
1400
Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter.
A
B 1470
Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.
1501
Italics begin to be used as way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing.
C
D
1734
William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.
1757
John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.
E
F
1780
Firmin Dido Giambattist created the ‘modern’ Ro typefaces ( and Bodoni contrasts w extreme tha before, and very cool, fr
F
0
ot and ta Bodoni e first oman (Didot, i). The were more an ever d created a resh look.
Present
1920
1815
Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.
G
H
1816
William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces. During this time, type exploded, and many, many variations were being created to accommodate advertising.
Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.
I
J
1957
Swiss designer Max Miedinger created Helvetica, the most loved typeface of our time. This was a return to minimalism, and many other simplistic typefaces such as Futura surfaced around this time period.
With the internet, we have such a vast variety of old and new typefaces available for us to peruse and use. We’re not limited by just one or two typefaces like we would have been a few hundred years ago.
K
About the Museum
The Broad is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The Broad is home to more than 2,000 works of art in the Broad collection, which is one of the world’s most prominent collections of postwar and contemporary art. The 120,000-square-foot building features two floors of gallery space and is the headquarters of The Broad Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The Broad has welcomed more than 2.5 million visitors. Generous support is provided by Leading Partner East West Bank.
Ubiquitous Type THE PRESENCE OF TYPOGRAPHY BOTH GOOD AND BAD, CAN BE SEEN EVERYWHERE.
ARTICLE BY: ANGELA AUTHOR
Typography 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 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 rightthinking human beings are struggling to remember that other men and women are free to be different,6 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 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 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 species. Dogs and ants, for example, considerable force and speed, but centuries after they were made. read and write by more chemical this is not a manual in the use of Writing systems vary, but a good page means. But the underlying principles any particular typesetting system or is not hard to learn to recognize, of typography are, at any rate, stable medium. I suppose that most readers whether it comes enough to weather any number of of this book will set most of their from Tang Dynasty China, The human fashions and fads. type in digital form, using computers, Egyptian New Kingdom typographers “Typography is the craft of endowing but I have no preconceptions about set for themselves than with the human language with a durable visual which brands of computers, or mutable or Renaissance Italy. The form, and thus with an independent which versions of which proprietary principles that software, “TYPOGRAPHY IS THE CRAFT OF unite these they may use. ENDOWING HUMAN LANGUAGE WITH A distant schools The essential DURABLE VISUAL FORM, AND THUS WITH of design are elements of AN INDEPENDENT EXISTENCE.” based on the style have structure and more to do scale of the human body - the eye, the existence.” Typography is the craft with the goals the living, speaking hand, and the forearm in particular of endowing human language with a hand - and its roots reach into living and on the invisible but no less real, durable visual form, and thus with an soil, though its branches may be no less demanding, no less sensuous independent existence. Its heartwood hung each year with new machines. anatomy of the human mind. I don’t is calligraphy - the dance, on a tiny So long as the root lives, typography like to call these principles universals, stage. It is true that typographer’s remains a source of true delight, true because they are largely unique to our tools are presently changing with knowledge, true surprise.
Pop! project
week 1 pop! visual project issue one volume seven in this issue:
andy warhol john philip sousa lil peep drake paganini frida kahlo pete wentz
week 3 andy warhol
john philip sousa
pop! volume seven issue one visual project in this issue:
lil peep
paganini
drake
frida kahlo
pete wentz
week 5 frida kahlo pete wentz pop!
visual project
lil peep paganini drake issue one
in this issue:
volume seven
andy warhol john philip sousa
week 7 issue one
pop!
in this issue:
visual project
volume seven
andy warhol andy andy warhol warhol john john philip philip sousa sousa john philip sousa lil peep lil lil peep peep drake drake drake
paganini paganini paganini frida frida kahlo kahlo frida kahlo pete wentz pete wentz wentz pete
week 8 pop! pop!
volume seven volume seven issue one issue one visual project visual project in this issue: in this issue:
andy warhol drake paganini frida kahlo lil peep pete wentz john philip sousa
fonts used: •The Bold Font •Arial Black •Baskerville •Times New Roman •Helvetica •Lemon Milk