Jenniferiturburo single

Fashion Institute of Design & Merchandising

TYPOGRAPHICAL PORTFOLIO

SUMMER 2016

exploration of the the history, usage and terminology used in the graphic arts.

LOGO

INTRO

Hi my name is Jennifer Iturburo.

I have a strong desire to learn all I can when it comes to graphic design.I will be graduating soon from The Fashion Institute of Design and Mechinising with a degree in graphic design. Directly following my graduation I will be reopening my store and launching my new brand.

Table of Contents FONTS USED>>>>>>>>>>>>>>>>>> PG.1 FAVORITE FONT>>>>>>>>>>>>>>> PG.2 TERMS>>>>>>>>>>>>>>>>>>>>> PG.3-4 CHARACTER Q>>>>>>>>>>>>>>> PG.5-6 CHARACTER A>>>>>>>>>>>>>>> PG.7-8 CHARACTER G>>>>>>>>>>>>>> PG.9-10

Table of Contents CHARACTER &>>>>>>>>>>>>>>> PG.11-12 CHARACTER 0>>>>>>>>>>>>>>> PG.13-14 MUSUEM LOGO>>>>>>>>>>>>>>> PG.15-16 UBIQUITUOUS TYPE>>>>>>>>>> PG.17-18 SKETCHES>>>>>>>>>>>>>>>>> PG. 19-22 LYRIC POSTER>>>>>>>>>>>>>

PG.23-24

MUSUEM POSTER>>>>>>>>>>>>> PG.25-26 POP!>>>>>>>>>>>>>>>>>>>>>

FONTS USED

Marguerite Letter Gothic Std Bauhaus 93

pg 1

FAVORIATE FONT

Jennifer Marguerite pg 2

TERMS

pg 3-4

pg 5-6

pg 7-8

Character Study THE LETTER G 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.’

evolution of

THE LETTER G

pg 9-10

A

very wide, mostly monolinear slab that was very common in the mid 20th century after releases by ATF and Bauer. Metal and wood precursors can be found back to the 1800s, including ATF’s

pg 11-12

R A H C

R E T AC

Y D U ST

Ampersand

Rooted in the Latin “et” (meaning “and”), the ampersand is a ligature composed from the letters “e” and“t”.Theword“ampersand”itselfisanalterationof“etperseand,”whichbecamecorruptedto“and per se and”, and finally “ampersand.” The history of the ampersand dates back to 63 B.C.E., and was a commonly used character during the Incunabula. For example, a single page from a book printed by Aldus Manutius in 1499, has over twenty-five ampersands!

Today, however, the ampersand has relatively limited uses. The Chicago Manual of Style doesn’t even address ampersands, except to say that it’s OK to spell them out at your own discretion, and the Associated Press Stylebook explicitly bans the ampersand from anything but a proper name or an abbreviation like “B&B” for “bed and breakfast.”

While playing fast and loose with ampersands isn’t a good idea, and client guidelines should always be respected,there are timeswhenalittle ampersandcreativitycanproduce excellent typographicresults.

The following are a few guidelines and suggestions for getting a little more from this special character.

The ampersand in the italic designs of the Bulmer®, New Caledonia®, and ITC Legacy® Serif typeface families is in keeping with lowercase proportions, but the majority of ampersands are of the capital variety – and these can pose a problem when used in text copy. Like ranging numbers, big ampersands in a line of lowercase letters can stand out too much, disrupting the flow of the eye across a page.

Evolution of the Ampersand

The letters of the Latin alphabet haven’t changed in eons, and there is limited latitude in how much a designer can modify or embellish the basic shapes. The ampersand, however, is a shinning example of an exception to the rule. It has a well-deserved reputation as being one of the most distinctive and fanciful characters in the alphabet.

pg 13-14

Character Study THE LETTER O Some believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the Alphabet was Made� recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds. After finishing the A and Y (inspired by the mouth and tail of a carp), the child, Taffy, asks her father to make another sound that she can translate into a picture.

evolution of THE LETTER O

MUSEUM LOGO

pg 15-16

pg 17-18

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 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 of endowin language wit visual form with an ind existe

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. 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 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 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.

y is the craft ng human th a durable m, and thus dependent ence.�

pg 19-22

SKETCHES

SKETCHES

spirit

LOVE

t u o

Morris Fuller Benton

THE MUSEUM OF MODERN T YPOGRAPHY

PRESENTS THE ART OF

221 South Grand Ave Los Angeles, Ca 90012 www.momt.org

OCTOBER 2-MARCH 25

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issue one

larry rivers

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issue one

in this issue:

frank o’ hara andy warhol jasper johns

larry rivers

roy lichtenstein

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issue one

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larry rivers

frank o’ hara andy warhol jasper johns

roy lichtenstein

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issue one

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