Karen singles by Randy Dunbar

Pørtføliø The Art of Typography

S p r i n g

2 0 1 7

SEPULVEDA graphic

designer

SEPULVEDA graphic

designer

SEPULVEDA graphic designe

Karen Sepulveda Graphic Designer (520) 809 0976 KSepulveda@icloud.com

An IntroductiĂ¸n Karen Sepulveda is majoring in Graphic Design at the Fashion Institute of Design & Merchandising; and with her major she plans to work for a magazine. The following portfolio will display her journey of typograghy.

Table øf Cøntents

Fonts Used

Character Studies

Logo Design

Brochure

Poster

6 12 26 30 40

8 22 28

Typographical Terms

Typographer Bio

Ubiquitous Type

Sketch Book

Pop

FÃ¸nts Used 6

Bodoni 72 Smallcaps Khmer MN Courier New Didot Bebas Bebas Neue Sukhumvit Set Thin

Typø T 8

Ã¸graphical Terms

Typographical

rop Cap

Display letter that is set into text.

Blackletter Also called Gothic. A style of handwriting popular in the fifteenth century. Also, the class of typestyles based on this handwriting.

Dingbat

Ornament, character, or spacer used in typesetting, often employes for the creation of box frames.

Hairline Rule

Cursive

Early italic typefaces that resemble handwriting but with the letters disconnected.

A fine line or rule, 1/4- point in thickness.

Display Type

Type used to attract attention, usually above 14 points in size.

Serif The opening and closing cross-strokes in the letterforms of some typefaces.

Calligraphy

Elegant handwriting, or the art of producing such handwriting.

T r a c k i n g Used in digital typography to mean overall letterspacing.

Egyptian Font Also called square serif. Typestype recognizable by its heavy, square serifs.

Wood Type Type made from wood. Used for the larger display sizes more than 1 inch where the weight of the metal made castig impractical.

Em Dash

Slightly stronger than a hyphen and takes the place of the word “to” such as 1970-1990.

Lig(Æ)ture

Two or three characters joined as a single character; fi, fl, ffl and ffi are the most common.

Didone

Decorative

Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes.

Distressed International flaws into letters have been introduced, to make any text appead old and weathered.

Fra/cti/on

In typesetting, a single keystroke or keysrtoke combination that builds customized fractions.

Characterized by extreme weight contrast between thicks and thins, vertical stress, and serifs with little or no bracketing.

Reversed

In printing, refers to type that drops out of the background and assumes the color of the paper.

Raised Cap

Larger letter at the start of the paragraph.

Terms

Charater Studies 12

Character Studies | A

THE HISTORY OF “A” No 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. 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. The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today.

ABOUT THE FONT: DIDOT The Didot family were active as designers for about 100 years in the 18th and 19th centuries. They were printers, publishers, typeface designers, inventors and intellectuals. Around 1800 the Didot family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with the typefaces of his brother, Firmin Didot, the typeface designer. The strong clear forms of this alphabet display objective, rational characteristics and are representative of the time and philosophy of the Enlightenment. Adrian Frutiger’s Didot is a sensitive interpretation of the French Modern Face Didot. Another model for this design is the Henriade, an historical printing of the original Didot from 1818. The font Didot gives text a classic and elegant feel.

Character Studies | @

THE HISTORY OF “@”

The

origin of the symbol itself, one of the most graceful characters on the keyboard,

which were shipped in large clay jars. The symbol’s modern obscurity ended in 1971, when a computer scientist named Ray Tomlinson

is something of a mystery. One theory is that

was facing a vexing problem: how to connect people

medieval monks, looking for shortcuts while copying

who programmed computers with one another. At

manuscripts, converted the Latin word for “toward”—

that time, each programmer was typically connected

ad—to “a” with the back part of the “d” as a tail. Or it

to a particular mainframe machine via a phone

came from the French word for “at”—à—and scribes,

connection and a teletype machine—basically a

striving for efficiency, swept the nib of the pen around

keyboard with a built-in printer. But these computers

the top and side. Or the symbol evolved from an

weren’t connected to one another, a shortcoming the

abbreviation of “each at”—the “a” being encased by

U.S. government sought to overcome when it hired

an “e.” The first documented use was in 1536, in a

BBN Technologies, the Cambridge, Massachusetts,

letter by Francesco Lapi, a Florentine merchant, who

company Tomlinson worked for, to help develop a

used @ to denote units of wine called amphorae,

network called Arpanet, forerunner of the Internet.

About the font: Florence

Florence

was designed and shared by Lily Bather. This minimalistic and classy all-caps serif typeface features sleek lines and Italic style. With different style, it’s perfect for logos, name card, magazine layouts, invitations, headers, or even large-scale artwork.

Character Studies | T

About the font:Argon rgon is a beautiful font by Tom Anders Watkins, a freelance designer

from Lincoln, United Kingdom. It has a unique typeface with a sporty, modern, adventurous edge.

Made for giving titles an extra punch, Argon packs a full set of capitals,

numbers and punctuation. Be it gigs, sports events, logo designs or humble lost cat posters, Argon was made to bring impact. Each letter is a solved three line thick puzzle that took me many months to put together.

The history of t

our thousand years ago, just as today, people who could not write used a simple cross to sign letters and formal documents. One might logically assume that this common signature stand-in was the origin of our present X. But that’s

not the case. Instead, what looked like an X to ancient writers eventually gave birth to the Roman T. Around 1000 B.C. the Phoenicians and other Semitic tribes used a variety of crossed forms to represent the letter they called “taw.” This letter, one of the first recorded, served two purposes: it represented the ‘t’ sound, and it provided a mark for signing documents that could be used by those who could not write their names. When the Greeks adopted the taw for their alphabet ten centuries later, they altered it slightly until it looked pretty much like what our T looks like today. The Greeks called this letter “tau.” The tau was passed on, virtually unchanged, from the Greeks to the Etruscans, and finally to the Romans.

Character Studies | &

THE HISTORY OF “&”

he origin of the ampersand can be traced back to the Latin word et, meaning ‘and’. The E and the T that make up this word were occasionally written together to form a ligature (a character consisting of two or more joined letters). Writing

the word this way saved the writer time, with one letter flowing seamlessly into the next – a form of cursive or joined up writing. It’s impossible to say exactly when this symbol was first written down, but an early example has been found as graffiti on a wall in Pompeii. It can be very difficult to trace the development of symbols over time, but with the ampersand the work has already been done for us, by one Jan Tschichold, a typographer born in Leipzip in 1902. Tschichold devoted an entire study to the development of the ampersand in his 1953 booklet The ampersand: its origin and development, where he collected hundreds of examples of the symbol throughout history, recording its development from the piece of ancient graffiti to the familiar ‘&’ used today. Within this collection are examples from the eighth century which are already recognizable as the modern ampersand. For such an ancient symbol, the name ‘ampersand’ is surprisingly modern. First seen in the late 18th century, it comes from an alteration of and per se and (literally ‘and (i.e. &) by itself makes the word and’), which was once chanted by schoolchildren as an aid to learning the sign.

About the font: Znikomit

eometrical, serif font Znikomit have OpenType features: Standard Ligatures, Contextual Alternates, Small Capitals, Discretionary Ligatures, Case Sensitive Forms, Fractions, alternate Glyphs “K”, “R” “Q” “k” as Stylistic

Set 01, alternate Glyphs “Ä”, “Ö”, “Ü” as Stylistic Set 02 and decorative Ornaments as Stylistic Set 03.

Typøgraph Biøgraph 22

her hy

Biography of Claude Garamond

laude Garamond – born c. 1480 in

acquire a large proportion of Garamond’s

Paris, France, died 1561 in Paris,

original punches and matrices. The typefaces

France – type founder, publisher,

Garamond produced between 1530 and 1545

punch cutter, type designer. In 1510: trains as a punch cutter with

are considered the typographical highlight of the 16th century. His fonts have been widely

Simon de Colines in Paris. 1520: trains with

copied and are still produced and in use

Geoffroy Tory. 1530: Garamond’s first type is

today.

used in an edition of the book “Paraphrasis

Publications include: “Essai d’un nouveau

in Elegantiarum Libros Laurentii Vallae” by

caractère de fonte pour l’impression de la

Erasmus. It is based on Aldus Manutius’ type

musique”, Paris 1756; “Manuel typographique”

De Aetna, cut in 1455. 1540: King Francis I

(2 vols.), Paris 1764–66.

commissions Garamond to cut a Greek type. Garamond’s ensuing Grec du Roi is used by Robert Estienne in three sizes exclusively for the printing of Greek books. From 1545 onwards: Garamond also works as a publisher, first with Pierre Gaultier and later with Jean Barbe. The first book he published is “Pia et Religiosa Meditatio” by David Chambellan. The books are set using typefaces designed by Garamond. After Garamond’s death, Christoph Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff-Bermer

Løgø Design

Museum of Modern Typography

MOMT Museum of Modern Typography

KAREN SEPULVEDA

Ubiquitøus Type

bifur

Bifur

was designed by Adolphe Mouron Cassandre, a Ukrainian-French painter, commercial poster artist and typeface designer. He later also created Peignot, another interesting and well-known typeface. Bifur was released in 1929 by Deberny & Peignot of Paris as a single font and a two-part, twocolor font. Apparently, it wasnâ&#x20AC;&#x2122;t a commercial success but it did create quite a stir in the typographic world. It also inspired other artists to create their own typefaces.

In 2004 Richard Keglar created a version of Bifur called P22 Bifur which is available in 6 fonts. It has all the upper case and other characters from Cassandreâ&#x20AC;&#x2122;s original design and adds lower case characters. Bifur is a good choice for any type of work that needs to invoke the Art Deco era. Its striking style makes it suitable for large headlines or display type.

Brø 30

Ă¸chure

seamlessly combines

expertise in brand strategy, identity, digital, retail, marketing, advertisement, environmental, product and service design to de ne and connect every aspect of abrand experience. We can start with a single touch point, or address holistic journeys for organizational and consumer brands, with a focus on delivering measurable business growth. Our work is hypothesis-driven, evidence-based and powered by rapid prototyping to help clients test, improve and deliver change to stay ahead of the market.

SEPU graphic

ULVEDA graphic designer

SEPULVEDA

designer

SEPULVEDA graphic designer

Karen seamlessly combines expertise in brand strategy, identity, digital, retail, marketing, advertisement, environmental, product and service design to de ne and connect every aspect of abrand experience. We can start with a single touch point, or address holistic journeys for organizational and consumer brands, with a focus on delivering

www.KarenSepulvedaDe

measurable business growth. Our work is hypothesis-driven,

(520) 902-1732

evidence-based and powered by rapid prototyping to help clients test, improve and deliver change

302 S. Gavel St. 902 Los Angeles, CA

to stay ahead of the market.

KSepulveda@icloud

esigns.art

284 A

d.com

Design is so simple, thatâ&#x20AC;&#x2122;s why itâ&#x20AC;&#x2122;s so complicated Paul Rand

Sketch Bøøk 36

PĂ¸ster Design

I I I I I I I

MUSEUM OF MODERN TYPOGRAPHY PRESENTS AN EXHIBIT OF

D I I O B O B I O O O B B D D BODONI N I O N I O B D O B N O O O D NOND

JUNE 21- SEPTEMBER 23

Museum of Modern Typography

1262 Grand Avenue Los Angeles, CA 90015 www.mmtLa.com

PÃ¸p 42

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in this issue:

andy warhol

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larry rivers

frank o’ hara

visual project

issue one

volume seven

in this issue:

andy warhol

roy lichtenstein

jasper johns

larry rivers

larry rivers frank o’ hara

larry rivers

frank o’ hara

larry rivers frank o’ hara

visual project

volume seven

andy warhol

jasper johns

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in this issue:

roy lichtenstein

frank o’ hara

larry rivers

visual project

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frank o’ hara

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Week 9

THE END