Hsitina typography fa16sp by Randy Dunbar

â&#x20AC;&#x153;An exploration of the the history, usage and terminology used in the graphic arts.â&#x20AC;?

Fashion Institute of Design & Merchandising Fall 2016 FALL 2016

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Intro When I started to learn typography, I noticed that it is everywhere. Typography is what we see everyday in our life and what makes the reading more interesting. It is the art of arranging type to make written language legible, readable, and appealing when displayed.

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Contents

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Font Used Typographical Terms Character Study Logo Design Ubiquituous Type Sketchbook Poster Design Pop!

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Fonts Used

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Character Stu

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udy

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CHARACTER STUDIES

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.

DIDOT 12 12

Didot is a group of typefaces named after the famous French printing and type producing Didot family. The classification is known as modern, or Didone.

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CHARACTER STUDIES

made its official debut i course, the story begins than that. The Phoenici other Semitic peoples o simple graphic form tha like an upside-down V to represent the consonant ‘g’ “go”). They named the form gimel, which was the Pho camel. Some contend this was because the upside-dow the hump of a camel.

The Greeks borrowed the basic Phoenician form its name to gamma. They also made some dramatic ch letter’s appearance. At various times in ancient Greek gamma looked like a one-sided arrow pointing up, an L, or a crescent moon. Throughout this time, however always represented the same hard ‘g’ sound that it did Phoenicians.

Blackoak is an Adobe Originals ty designed in 1990 by Joy Redick. adapted from proofs of wood typ collection at the Smithsonian Inst slab serifs and extremely wide let 14 14

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in 312 B.C. Of s a bit earlier ians, and the of Syria, used a at looked roughly sound (as in oenician word for wn V looked like

m and changed hanges to the k history, the upside-down r, the gamma d for the

ypeface Blackoak, pe from the titution, has tterforms. FALL 2016 2016 FALL

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CHARACTER STUDIES

is the 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.

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Cooper Black Cooper Black is a heavily weighted, display serif typeface designed by Oswald Bruce Cooper in 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style.

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CHARACTER STUDIES

The defined shapes of the letters of our alphabet provide little room for self-expression, which limits how creative a designer can get when it comes to drawing individual letterforms. There are exceptions: the ampersand, for instance, has a well-deserved reputation as being one of our most fanciful characters, as well as one of the most fun to draw! Like many letters in our current alphabet, the ampersand probably began as a convenience. The Latin word et was first written as two distinct letters, but over time the ‘e’ and ‘t’ were combined into a ligature of sorts. Once the ampersand was accepted as a single character, artistry took over and a more flowing design evolved. Credit for the invention of the ampersand is usually given to Marcus Tiro, who included it in a shorthand writing system he devised in 63 B.C. The word “ampersand” is an alteration of the phrase “et, per se and” (that is: “et by itself [means] and”), which became corrupted to “and, per se and”, and finally, ampersand.

The Bauhaus typeface design is based on Herbert Bayer’s 1925 experimental Universal typeface. Bauhaus 93 is a variant of URW Blippo Black. Only one font was produced. It is used in Microsoft Word. It is also used for the Postman Pat logo, around Disney’s Polynesian Resort, and on the title screens for Super Mario Bros. and Super Mario Bros. 2, as well as the amiibo logo. 18

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CHARACTER STUDIES

was a letter called “samekh,” which meant fish. Although some historians argue that the character represented a post or support, with only a small stretch of the imagination the drawn character can be seen as the vertical skeleton of a fish. When the Greeks adopted the Phoenician alphabet they left some of the Phoenician sibilant letters behind, taking only those that represented sounds the Greeks required. The ancestor to our X, which represented a sharp ‘s’ sound, was one such letter. The Phoenician samekh became the Greek “xi,” which had different sound values in the Eastern and Western Greek alphabets. Inconsistencies in the Greek pronunciation and usage of some letterforms were a direct result of geographical and political disunity. There were many Greek dialects and variations in letterform shapes and sound values, but the two main alphabet subgroups were the Ionic and Chalcidian. By 400 B.C., the Ionic alphabet, which had been officially sanctioned at Athens, became what we now know as the classical Greek alphabet. The Chalcidian, which was the alphabet of some Greek colonies that migrated to southern Italy, influenced several Italian writing styles, including Umbrian, Oscan and Etruscan.

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Phosphate. Steve Jackaman. Based on the design "Phosphor" by J. Erbar, for Ludwig & Mayer, circa 1922-30. Copyright International TypeFounders, Inc.

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Logo Design

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Graphic De sign

Graphic Design

TINA

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MT M MMT

Museum of Modern Typography

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Modern Typography

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Ubiquitous

Type

The presence of typography both good and bad, can be seen everywhere. Alex Ross is an American comic book writer/artist known primarily for his painted interiors, covers, and design work. Here are some logos for his gallery store in downtown Culver City.

These are the restaurant logo and the painting in front of the store in downtown Culver City.

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 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 right-thinking 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 th ere 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

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From Mr. Bones Pumpkin Patch, they have harvest market, and some interesting activities.

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 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.

From Mr. Bones Pumpkin Patch, they have harvest market, and some interesting activities.

High Wide & Handsome is a 1937 American musical film starring in downtown Culver City.

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.” FALL 2016 2016 FALL

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Sketchbook

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Poster Design

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www.museumofmoderntypography.com

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pop!

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i s s u e one pop! volume seven

andy warhol

in this issue: banksy

visual project jasper johns

yayoi kusama rosson crow

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pop!

issue one

in this issue:

rosson crow

yayoi kusama

andy warhol

banksy

jasper johns

visual project

volume seven

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andy warhol in this issue: jasper johns

pop!

rosson crow

banksy visual project

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issue one volume seven yayoi kusama

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in this issue:

banksy

jasper johns

issue one

andy warhol

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rosson crow

pop!

volume seven

yayoi kusama

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visual project

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jasper johns

in this issue:

yayoi kusama

rosson crow

pop!

volume seven

issue one

banksy

visual project

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andy warhol

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jasper johns rosson crow in this issue:

banksy

pop!

volume seven andy warhol yayoi kusama visual project issue one

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