Jacquelinejaracuaro

JACQUELINE JARACUARO FASHION INSTITUTE OF DESIGN & MERCHANDISING

SPRING 2015

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An exploration of the history, usage and terminology of type as used in the graphic arts

TYPOGRAPHIC PORTFOLIO 1

“ No other design discipline requires so much learning and training as fontography, and by no other aspect can amateurs be so easily distinguished from professionals.

To be font literate, a designer has to study the history and the principles of font design. “ Dmitry Kirsanov

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JACQUELINE JARACUARO FASHION INSTITUTE OF DESIGN & MERCHANDISING

SPRING 2015

GRAPHICS

TYPOGRAPHIC PORTFOLIO 3

Table of Contents Logo Design 5 Character Study 7 Poster Design 11 Identity Design 13 Ubiquitous Type 15 Sketches 18 Newsletter 23 Typographical Terms

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Fonts Used : Adequate, Times New Roman, Courier, Helvetica, Rockwell, Arial Black, Parkinson, KG Only Human 4

Logo Design

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GRAPHICS

• GRAPHIIC • DESIGN •

• GRAPHIIC • DESIGN •

GRAPHICS

GRAPHICS

• GRAPHIIC • DESIGN •

• GRAPHIIC • DESIGN •

GRAPHICS

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Character Study

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Character Study . Letter Z

What letter is used most rarely in English? Poor lonely z finishes up the alphabet at number 26. The final letter, z’s history includes a time when it was so infrequently used that it was removed altogether.

The Greek zeta is the origin of the humble z. The Phoenician glyph zayin, meaning “weapon,” had a long vertical line capped at both ends with shorter horizontal lines and looked very much like a modern capital I. By the time it evolved into the Greek zeta the top and bottom lines had become elongated and the vertical line slanted, connecting to the horizontal lines at the top right and the bottom left.

Around 300 BC, the Roman Censor Appius Claudius Caecus removed z from the alphabet. His justification was that z had become archaic: the pronunciation of /z/ had become /r/ by a process called rhotacism, rendering the letter z useless. At the same time that z was removed, g was added, but that’s another story.

Two hundred years later, z was reintroduced to the Latin alphabet but used only in words taken from Greek.

Because of its absence and reintroduction, zeta is one of the only two letters to enter the Latin alphabet directly from Greek and not Etruscan.

Z was not always the final letter of the modern English alphabet, although it has always been in the 26th position. For years the & symbol (now known as the ampersand) was the final, pronounced “and” but recited with the Latin “per se,” meaning “by itself.” The position and pronunciation eventually ran together, with “X, Y, Z, and per se and” becoming “X, Y, Z, ampersand.”

Z is the most rarely used letter in the alphabet; however, American English uses it more often than British English. Early English did not have a z but used s for both voiced and unvoiced sibilants. Words in English that originated as loan words from French and Latin are more likely to be spelled with a z than an s. Also, American standardization modified /z/ suffixes to more accurately reflect their pronunciation, changing –ise and –isation to –ize and –ization.

About the Font Rockwell 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 typeface was designed at the Monotype foundry's in-house design studio in 1934.[1] The project was supervised

by Frank Hinman Pierpont. Slab serifs are similar in form and in typographic voice to realist sans-serifs like Akzidenz Grotesk or Franklin Gothic. Rockwell is geometric, its upper- and lowercase O more of a circle than an ellipse. A serif at the apex of uppercase A is distinct. The lowercase a is two-story, somewhat incongruous for a geometrically drawn typeface.

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Gg Character study • Letter G

Generally speaking, there are no launch dates for the letters of our alphabet. For the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C. Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upside-down V looked like the hump of a camel.

The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At various times in ancient Greek history, the gamma looked like a one-sided arrow pointing up, an upside-down L, or a crescent moon.

Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians.

The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds. The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’

The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered superfluous for the writing of Latin. The ousted Z took its place at the end of the line.

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Poster Design

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Identity Design

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jjaracuaro27@gmail.com

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Ubiquitous Type

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A report on public typography

The presence of typography both good and bad, can be seen everywhere.

By Milton Glaser Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and histori-

cal 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 letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hid- den.

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

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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,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 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 typog-

raphers 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.”

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 17

Sketches

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Newsletter

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WEEK OF JANUARY 21-24

N E W S L E T T E R

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YOGA WORKSHOP Join our CCSA Club for a FREE Yoga class. Learn how yoga can help your physical & mental state. Open to all current students.

Tuesday January21 11:15 am - 12:00pm A332 FIDM MODE™ Magazine Launch Party The FIDM MODE™ Magazine presents the release of Fall/Winter 2014 issue. Join us as we celebrate the launch with an exclusive party! Tickets will be sold starting Wednesday, Jan. 22, in Student Activities, Rm. 425, for $10.00 or $15.00 at the door.

Thursday, Feb. 6 7:00 p.m. – 10:00 p.m.

Vertigo Salon (penthouse of the Annex) New Year, New You! Wellness Fair Start the New Year by being healthy. Join us for our annual health fair!

Get services and info from: •Vertigo Salon •Evoke Yoga •Los Angeles Athletic Club •Ralphs •Target Pharmacy

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Wednesday, Jan. 22 11:15 a.m. - 12:00 p.m. Student Lounge How to Save a Life Come hear personal stories from two current students about overcoming depression. Learn tips and tools on how to help yourself and others.

Thursday, Jan. 23 11:15 a.m. - 12:00 p.m. Student Activities, Rm. 425 Zumba Join us for a high intensity, high energy, Latin inspired workout! Burn calories while having a blast!

Career Center TJ MAXX will be on campus Wednesday, Jan. 22, recruiting for Assistant Managers in the Los Angeles area. Please sign up in the Career Center.

SUNGLASS HUT will be on campus Thursday, Jan. 23, recruiting for their new store at 7th & Figueroa. Please sign up in the Career Center.

NEW STUDENTS Please make an appointment on Career Network to meet with your Career Advisor for assistance with your job search.

Thursday, Jan. 23 6:30 p.m. - 7:30 p.m. Student Lounge Just Design It (Active Wear for Cotton) This unique competition allows participants to become actively acquainted with the benefits of cotton in active wear design. In teams of three, participants are challenged to research a sport or fitness activity, develop a consumer profile, and design a cotton rich garment that is functional and fashionable. $19,000 in scholarships will be awarded. Application deadline: January 23 to Suite 201E. For more information contact tedwards@fidm.edu or visit the Portal.

PILATES CLASS Join Student Council for a fun introductory pilates class. Open to all current students.

Thursday, Jan. 23 11:15 a.m. - 12:00 p.m. A332 Meditation Wrap up Student Activities’ Wellness Week with an afternoon meditation session.

Lead by Meditation sepcialist, Sonya Joseph. Leave feeling refreshed & clam for your weekend.

Friday, Jan. 24 11:15 a.m. - 12:00 p.m. Room 425 Celebrate Paris with us!

Find us in the Student Lounge on Tuesday, Jan.28, to learn about our 2014 Paris Summer Institute.

A trip you don’t want to miss!

To sign up, go to https://myfidm.fidm.edu. Click the “MY FIDM” link at the top of the page & select “ABOUT STUDY TOURS” in the navigation bar on the left. For questions, contact Sevana Dimijian at sdimijian@fidm.edu. Also, find us on FACEBOOK @ facebook.com/fidmstudy.tours

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jacqueline jaracuaro

typography definitions distressted fonts thats are grudge looking

kerning

adjust the spacing between (letters or characters) in a piece of text to be printed.

transititional

tracking

usually called tracking by typographers, as they represent the initial refers to a consistent degree of increase departure from centuries of Old Style (or sometimes decrease) of space between letters to affect density in a line or block of text tradition and immediately predate the Modern period.

Swash

A swash is a typographical flourish, such as an exaggerated serif, terminal, tail

slab serif

a type of serif typeface characterized by thick, block-like serifs.

ligature

occurs where two or more graphemes or letters are joined as a single glyph

blackletter

letters with a gothic feel to them

reversed

oblique

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glyph

an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing

rop cap Process of printing light colored or a large capital letter at the neither perpendicular nor parallel : inclined white text on a dark or black background, beginning of a text block that has used for emphasis or producing the depth of two or more lines of regular text. a visual impact.

12 pt. rule default size in digital word processing

display Any text set in sizes larger than normal body copy size

handlettering to be printed by hand.

•bullet

is a typographical symbol or glyph used to introduce items in a list

Serif

❄❉■❂▼▲(dingbat) an ornament, character or spacer used in typesetting.

calligraphy

decorative handwriting or handwritten lettering.

wood type

a slight projection finishing off a stroke of a letter in certain typefaces.

Wood fonts are based in nature, genuine, sincere, pure, organic or unrefined style

hairline rule

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.

cursive

known as longhand, script, joined-up writing, joint writing, running writing, or handwriting is any style of penmanship in which the symbols of the language are written in a conjoined and/or flowing manner.

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GRAPHICS

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