Jeanel madera

THE FASHION INSTITUTE OF DESIGN MERCHANDISING Spring 2018

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Jeanel Madera Graphic Design

Jeanel Madera Graphic Design

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Hello! my name is Jeanel Madera, I’m a Graphic Design student at The Fashion Institute Of Design & Merchandising. I am originally from San Francisco CA, but moved to Los Angeles to gain more experience and pursue my dream as a designer. Once I finish my education at FIDM, I hope to stay in L.A. or move back to S.F. and work in the Silicon Valley.

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Typographical Terms Grotesque

Grotesques are usually geometric in design with simple letter forms and fairly even stroke weights and they are also often bolder and can be used as display type.

Cursive Cursive (also known

Hairline rule Blackletter Wood Type A hairline is the thinThis style of typeface is It is a heavy thick-

nest 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

recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls

stroked typeface with rounded serifs. The absence of sharp corners made it very well suited

Distressed IsCalligraphy Slab Serif the design and exeIn typography, a slab ser- Distressed typefaces cov-

as script, longhand or joined-up writing, among other names) is any style of penmanship in which some characters are written joined together in a flowing manner,

if (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.

er a lot of ground. Some replicate the irregular contours of brush strokes and other writing implements.

Others capture the organic texture of parchment and stone, or approximate the

cution of lettering with a broad tip instrument, brush, or other writing instruments. ... Classical calligraphy differs from typography and

12pt. rule

Reversed

Display

Kerning

Points are the measurement most commonly used in print to indicate the size of type, as well as the space between lines, referred to as line spacing or leading.

Process of printing light colored or white text on a dark or black background, used for emphasis or producing a visual impact.

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Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces

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Kerning adjusts the space between individual letter forms, while tracking (letter-spacing) adjusts spacing uniformly over a range of charac-

Transitional

Transitional Characteristics. A greater contrast between thick and thin stokes. Wider, gracefully bracketed serifs withflat

Oblique

Roman typefaces are upright, italic typefaces slant to the right. ... It is distinct therefore from oblique type, in which the font is merely distort-

Drop Cap

Ligature

Two or more letters combined into one character make a ligature

Swash

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

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.

Bullet

Is a typographical symbol or glyph used to introduce items in a list.

Glyph

Tracking

letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase of space between letters to affect density in a line or block of text.

Serif

Is an elemental symbol Is a small line attached within an agreed set of to the end of a stroke in a symbols, intended to rep- letter or symbol. resent a readable character for the purposes of

Dingbat

Is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames.

Handlettering

Typography is arranged using preformed letters. The third term which is often used as a catch-all is typography. It is often used to describe all forms of calligraphy and hand lettering, but in its purist sense, typography should only

CharacterStudies

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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.

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The History of Avenir

The Avenir® Next font family was designed by Adrian Frutiger in collaboration with Monotype Type Director Akira Kobayashi. It was an expanded reworking of the original font family (released as an OpenType font with both oldstyle and lining figures) and received considerable acclaim upon its publication by Linotype in 2004.

Character Studies

I

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History of Blackletter

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n its earliest years, the letter that evolved into our F was an Egyptian hieroglyph that literally was a picture of a snake. This was around 3,000 B.C. Through the process of simplification over many years, the F began to lose its snakelike character, and by the time it emerged as an Egyptian hieratic form it wasn’t much more than a vertical stroke capped by a small crossbar. With a slight stretch of the imagination, it could be said to look like a nail.

This may be why the Phoenicians called the letter “waw,” a word meaning nail or hook, when they adapted the symbol for their alphabet. In its job as a waw, the character represented a semi-consonant sound, roughly pronounced as the W in the word “know.” However, at various times the waw also represented the ‘v’ and sometimes even the ‘u’ sound.

The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) 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.

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he first (and admittedly the less likely) of the two stories starts where most things inevitably start: in Rome. The story goes that the question mark actually originated from the Latin word qvaestio, meaning question.

This word was reportedly abbreviated in the Middle Ages by scholars as just qo. Eventually, a capital “Q” was written over the “o”, and it formed one letter. Then, it morphed into the modern question mark we know today. Here’s a picture so you can visualize it. However, the actual evidence that this is the case is almost non-existant, for no medieval manuscript found thus-far supports this idea. In fact, it seems that the opposite holds true; the question mark morphs to look more like a q rather than less like a q as time passes.

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History of Didot Certainly one of the more renowned font groups, this well established font family group was named for one of the most famous Parisian printing and type foundry families, the Didot family. They ran a series of highly successful print shops and foundries from the mid 1700s for over two hundred years.

One of the first fonts to be classified as Didone or modern the font has appeared in everything from a publication of Voltaire to the logo of a highly successful American broadcasting company. There have been several revivals of The Linotype Didot Font Family, particularly with the development of hot metal type and Linotype’s more recent redesign to adapt the font for digital use.

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WEEKLY WHAT’S GOING ON AROUND CAMPUS

Jeanel Madera Graphic Design

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Jт Jeanel Madera Graphic Design

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

T

biquitous Type

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

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makes ypography 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 letter- forms and their usage is visible too, to those with access to m 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

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 precisely the use of a road: to reach individually chosen points of departure. By all means break the

tant 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

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

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 dis-

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.

WEEKLY

Career Center Indusrty Partnership:

on Wednesday, April 25 from 11:00 .am. - 2:30 p.m. in the Student Lounge Companies will be on campus to recruit for part time and interships positions in the Student Lounge. Come prepared to network and interview.

WHAT’S GOING ON AROUND CAMPUS

Phi Theta Kappa Hosts:

DIY AIR PLANTS

We’re celebrating Earth Month! Add more greenery to your apartment by decorating your own plant pottery to take home with you. Supplies will be provided.

Tuesday, April 24 11:15 a.m. - 12:00 p.m.

Student Lounge Patio

FIDM MODETM Magazine Hosts:

A Look Behind the Magazine Interested in learning what it takes to put a magazine together? Join FIDM MODETM Magazine for our first photoshoot of the quarter, a make-over!

Thursday. April 26 10:30 a.m. - 12:00 p.m.

Room 425

A pril 23 - M ay 4

Celebrity Fashion Designer Intrested in being a fashion designer and entreprenuer? Hear from celebrity designer, Walter Mendez, whose creations have been featured on celebrities like Beyonce, Britney Spears, Selena Gomez, Mel B, Jennifer Lopez, Camila Cabello and more.

Self Defense Class Join PTK for this safety workshop led by Peace Over Violence. Empowerment selfdefense is a set of awareness, assertiveness, verbal confrontation skills, safety strategies, and physical techniques. These enable one to successfully prevent, escape, resist, and survive violent assaults. Sign up in Room 425.

Friday, April 27 11:15 a.m. - 12:00 p.m.

Room 500

The Industry Club Hosts:

Student Council Hosts:

Pinkies Up:

An email ettiquette workshop

DENIM DAY

Wednesday, April 25 All Day

Do you have access to your email, WiFi, Adobe, eLearning, FIDM Portal, and FIDMPrints? Make sure to check the FIDM Portal or visit either eLearning (Room 403) or the Annex Copy Center to make sure you are wired for FIDM Technology this quarter!

Confidence Workshop

Lost for words when you have to send a professional email? No worries, we got you! Join us for tea time and learn the unwritten rules of email etiquette to make the best impressions.

You got what it takes, you just haven’t realized it yet. Learn impactful ways to let your confidence speak for you.

Whether your’e asking someone out on a date, going to an interview, networking or asking for a raise, confidence is key.

Tuesday, May 1 2:45 p.m. - 3:30 p.m.

Room 425

Wednesday, May 2 11:15 a.m. - 12:00 p.m.

Room 425

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Girl Power Day Ladies! Let’s have a serious (and fun) chat about our bodies. Remove the stigma that comes with being a woman. Embrace your femininity and feel empowered with PTK. Who runs the world?!

FIDM Tote Bag Challenge!

Looking for a way to get involved in MODE™ Magazine?

Here’s your chance to showcase your talent. MODE is looking for fun and creative designed FIDM Tote Bags to feature in their upcoming issue. Take the classic FIDM Tote and transform it with fabric, paint, patches, beads, rhinestones or anything that inspires you. 10 lucky winning designs will get chosen! Stop by Student Activities, Room 425 for more details to apply.

Sketches are due May 3.

Contest ends May 25.

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NEED MONEY TO HELP PAY TUITION? If you are a student starting your 2nd, 3rd or 4th year, in the Summer Quarter of 2017 you may be eligible to receive a Scholarship from the FIDM Scholarship Foundation ♦ ELIGIBILITY REQUIREMENTS: • Cumulative GPA 3.0 • U. S. citizen or permanent resident.

• Currently employed or interning ♦

INSTRUCTIONS & APPLICATION REQUIREMENTS • Meet with Student Advisor to obtain application in suite 401 - Now AvailableSubmit completed FIDM Scholarship Foundation Application to your Student Advisor including references and resume

Don’t delay, schedule your appointment today!

Graduates June 2018 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: May 15, 2018 E-Exits are available online at WWW.MYLOANCOUNSELING.COM COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held. If you have any questions, please contact Evelyn Garcia at (213) 624-1200 ext 4292 egarcia@fidm,edu or stop by room 401-N.

The FIDM Store Earth Day Sale

Are You Wired?

Phi Theta Kappa Hosts:

FIDM MODE™ Magazine:

Friday, May 4 11:15 a.m. - 12:00 p.m.

Room 425

Effective as of July 1, 2017, failed units will be subject to a $500 per unit charge (Example: 3 units =$1,500.00).

Please see Financial Services for further information.

Wear denim with a purpose, support survivors, and educate yourself and others about sexual assualt and rape!

Sign our pledge to support survivors. #endrapeculture

Tuesday, May 1 11:15 a.m. - 12:00 p.m.

Room 425

Attention Star Wars lovers!

Join us for this awesome mixer. Watch one of the classics while enjoying refreshments and snacks. The best Star Wars inspired outfit will win a prize!

Financial Services

Tuesday, April 24 2:45 p.m. - 3:30 p.m.

Room 425

Phi Theta Kappa Social:

“May The Fourth Be With You” Mixer

GET YOUR MONEY’S WORTH!

In support of Earth Day, our reusable drinkware is 20% from April 23 - 27! Celebrate a clean Earth and purchase a reuseable water bottle or tumbler at the FIDM Store.

UTILIZE THE FIDM LIBRARY RESOURCES Stop by the Media Room to check out DVD feature films, documentaries, runway shows, and biographies! Also discover innovative textiles, review Vogue Magazines from 17 different countries, and MUCH MORE!

Save the Date!

Cap & Gown Distribution!

Wednesday, May 16 12:30 p.m. - 5:00 p.m.

Check in at Rotunda (1st Floor)

Grad Carnival

1:30 p.m. - 6:00 p.m. *RSVP REQUIRED at FIDMGRADCARNIVAL.RSVPIFY.COM

STUDENT ADVISEMENT CURRENT INFORMATION

Does FIDM have your most current address, phone number, and email address? If not, please go to the Student Advisement office, Rm. 401 to update your information. Thank you.

Attention All First Year 2nd Quarter Students!

Have you met with your Student Advisor?

If not, you need to schedule your appointment in room 401 as soon as possible to start planning for your 2nd yr.

Now Accepting Applications for Summer 2018 and Fall 2018!

Look beyond your current AA degree and consider your options to earn your Bachelor degree in: Business Management Apparel Technical Design Design Interior Design Graphics Digital Cinema Social Media Come to Suite 401 to make an appointment today!

Now Accepting Applications For MBA For Summer 2018 (You need to have a Business Bachelor Degree) Contact Sang Pak in Student Advisement, Suite 401A, spak@fidm.edu, for more informations

BRODOVITCH

FASHION

Harper's Bazaar's has been awarded a design accolade by New York's Museum of Modern Art. As part of the Architecture and Design Collection, Bazaar's recognisable Didot font used for the masthead logo has been chosen as an all-time noteworthy font and will be displayed in Standard Deviations, an installation opening.US Bazaar's former editor-in-chief Liz Tilberis and art director Fabien Baron created the typeface based on the historical revivalism of the magazine’s style of the 1930s, 1940s, and 1950s, under legendary art director Alexey Brodovitch.

-Alexey Brodovitch TYPOGRAPHIC

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D u r i n g the early 1940s, Brodovitch and other art directors including Alexander Liberman (who became art director at the rival fashion magazine Vogue in 1943) were responsible for dramatically changing the design of magazines by including more photographs, experimenting with different fonts and layouts, and seeking different work in photography to match the expression of modernity in their new designs. The dynamism Brodovitch demanded was found in the era's rising photographers: Penn, who began working at Vogue in 1942, and Richard Avedon, who worked at Harper's Bazaar from 1945 until he moved to Vogue in 1966.

A

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lexey Brodovitch is remembered today as the art director of Harper's Bazaar for nearly a quarter of a century.

But the volatile Russian emigré's influence was much broader and more complex than his long tenure at a fashion magazine might suggest. He played a crucial role in introducing into the United States a radically simplified, “modern” graphic design style forged in Europe in the 1920s from an amalgam of vanguard movements in art and design. Through his teaching, he created a generation of designers sympathetic to his belief in the primacy of visual freshness and immediacy. Fascinated with photography, he made it the backbone of modern magazine design, and he fostered the development of an expressionistic, almost primal style of picture-taking that became the dominant style of photographic practice in the 1950s.

Certainly one of the more renowned font groups, this well established font family group was named for one of the most famous Parisian printing and type foundry families, the Didot family. They ran a series of highly successful print shops and foundries from the mid 1700s for over two hundred years. One of the first fonts to be classified as Didone or modern the font has appeared in everything from a publication of Voltaire to the logo of a highly successful American broadcasting company. There have been several revivals of The Linotype Didot Font Family, particularly with the development of hot metal type and Linotype’s more recent redesign to adapt the font for digital use.

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frida kahlo

issue one

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literary journal

Week 5

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pop! issue one lil peep

frank ocean frida kahlo ayn rand picaso

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in this issue:

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Week 8

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issue one

in this issue:

volume one

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in this issue:

frida kahlo

issue one

volume one

literary journal

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