Portfolio Joselyne Lopez
Joselyne Lopez
In this Portfolio, the designer aspires to keep her designs minimalistic and chic. She enjoys the look of elegancy in a minimalistic artwork.
TABLE OF CONTENTS
1. Fonts Used. 2. Typographical Terms. 3. Character Studies. 4. Logo Design. 5. Ubiquitous Type. 6. Brochure. 7. Sketchbook. 8. Poster. 9. Pop.
Fonts Used
-Times New Roman -Bebas Neu -Helvetica -Baskerville -Didot -Trojan Pro -Bodoni
Character Studies
Character Studies
THE LETTER A
N
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. The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’. 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. The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language.
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.
Character Studies The Letter W
History of The Letter W
The letter w does not occur in Latin and is not part of the
ancient Latin alphabet. It is a letter which appears from Germanic languages, including Old English. It can therefore sometimes appear in Latin documents in personal or place names, and in the occasionally interpolated vernacular word or phrase. In English particularly, it may be given an extravagant treatment, almost in celebration of its unique status. While it most commonly appears at the beginning of a name, and might be regarded as a capital, the same enlarged form appears in the middle of a word, which looks quite peculiar at times.
Einhard, the contemporary biographer of Charlemagne, tells us that
the multiskilled king not only encouraged Latin literacy in his court, he also wrote down the old Frankish tales and legends in their original language, adding new letters for the sounds not found in Latin. If the king performed this feat, or caused someone else to perform it, the results have not survived. It seems that in old Germanic vernacular writings, the way to represent w was by repeating u in the form of two separate letters.
History of Woodtype
Wood has been used for letterform and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was mos often that of the Buddha, and was quite smal Provided with handles to facilitate their use, they were not unlike the modern rubber-stamp of today. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled.
Character Studies
Ampersand
A BRIEF HISTORY OF THE AMPERSAND
T
he ampersand can be traced back to the first century AD. It was originally a ligature of the letters E and T (“et” is Latin for and). If you look at the modern ampersand, you’ll likely still be able to see the E and T separately. The first ampersands looked very much like the separate E and T combined, but as type developed over the next few centuries, it eventually became more stylized and less representative of its origins. You can see the evolution of the ampersand below (1 is like the original Roman ligature, 2 and 3 are from the fourth century, and 4-6 are from the ninth century). The modern ampersand has remained largely unchanged from the Carolignian ampersands developed in the ninth century. Italic ampersands were a later ligature of E and T, and are also present in modern fonts. These were developed as part of cursive scripts that were
developed during the Renaissance. They’re often more formal-looking and fancier than the standard Carolignian ampersand. The word “ampersand” was first added to dictionaries in 1837. The word was created as a slurred form of “and, per se and”, which was what the alphabet ended with when recited in Englishspeaking schools. (Historically, “and per se” preceded any letter which was also a word in the alphabet, such as “I” or “A”. And the ampersand symbol was originally the last character in the alphabet.) The ampersand is a part of every roman font. It’s used in modern text often, probably most frequently in the names of corporations and other businesses, or in other formal titles (such as Dungeons & Dragons). It’s experiencing a bit of a resurgence in general usage, as it commonly replaces “and” in text messages and Twitter updates. Ampersands are also commonly used in programming, particularly in MySQL, C and C++, XML, SGML, and BASIC.
THE FONT
Historically, a “titling font� was a font of metal type designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes.
FELIX TITLING
Character Studies 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.
The father’s sketch of the first O would serve
perfectly well today, since round remains the defining property of the letter. Actually, the O did start out as a drawing of something, but not an egg or a stone, or even a mouth. The true ancestor of our O was probably the symbol for an eye, complete with a center dot for the pupil. The symbol for eye, “ayin” (pronounced “eye-in”) appears among the Phoenician and other Semitic languages around 1000 B.C.
The Greeks adapted the ayin to their communication
system and used it to represent the short vowel sound of ‘o.’ The Greeks also changed the name of the letter to Omicron. (The Omega is another Greek O, which they invented to represent the long ‘o’ sound.) While the Phoenicians and the Greeks drew the letter as a true, nearly perfect circle, the Romans condensed the shape slightly to be more in keeping with their other monumental capitals.
H T
O
T N
E H
O F
O
B R
R IT
N O
Orbitron is a geometric sans-serif typeface intended for display purposes. It features four weights (light, medium, bold, and black), a stylistic alternative, small caps, and a ton of alternate glyphs.
Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. If you’ve ever seen a futuristic sci-fi
movie, you have may noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. Only those very few geometric typefaces have survived to be used on spaceship exteriors, space station signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. Of course Orbitron could also be used on the posters for the movies portraying this inevitable future.
Logo Design
JOSELYNE LOPEZ JOSELYNE LOPEZ JL
Ubiquitous Type
Ubiquitous Type The presence of typography both good and bad, can be seen everywhere. 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
“Typography is the craft of endowing human language letters: in part a pocket field with a durable visual form, guide to the living wonders and thus with an independentthat are found there, and existence.�
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 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
Infographic
A BEGINNER’S GUIDE TO
GRAPHIC DESIGN Graphic design, also known as communication design, is the art and practice of planning and projecting ideas and experiences with visual and textual content. The form of the communication can be physical or virtual, and may include images, words, or graphic forms. The experience can take place in an instant or over a long period of time. The work can happen at any scale, from the design of a single postage stamp to a national postal signage system, or from a company’s digital avatar to the sprawling and interlinked digital and physical content of an international newspaper. It can also be for any purpose, whether commercial, educational, cultural, or political. Design that’s meant to be experienced in an instant is the easiest to recognize and has been around the longest. For over a hundred years, designers have arranged type, form, and image on posters, advertisements, packages, and other printed matter, as well as
DESIGN PRINCIPLES The design of books and magazines also has a long history. Whether physical or digital, these are objects that are meant to be enjoyed over time, during which the reader has control over the pace and sequence of the experience. In books, the content usually comes before the design.
information visualizations and graphics for newspapers and magazines. Motion graphics are equally predetermined and crafted, but are meant to be experienced over a fixed time span, such as for the opening credits of a movie or an online video meant to accompany a newspaper article. The design of books and magazines also has a long history. Whether physical or digital, these are objects that are meant to be enjoyed over time, during which the reader has control over the pace and sequence of the experience. In books, the content usually comes before the design, while in magazines, the design is a structure that anticipates written and visual content that hasn’t yet been created. Some commercial websites or exhibition catalogues also fit in this category, as do digital or physical museum displays that show information that doesn’t change. All have fixed content, but the user or reader determines their own path through the material.
Balance
Hierarchy
Proximity
EVOLUTION OF GRAPHIC DESIGN 1950’s
DESIGN ELEMENTS Shape
1960’s Line
1970’s Color
1980’s
Type
1990’s
Rhythm
Scale
Unity + Variety
Visuals
Sketch book
Poster
THE MUSEUM OF MODERN T YPOGRAPHY presents
the work of
Carol Twombly October 2 - November 27
221 South Grand Avenue, Los Angeles, CA 90019
M.M.T The Museum of Modern Typography
POP!