Lukaszewski portfolio singlespdf

The Art of Typo graphy

Natalie Lukaszewski Spring 2018 Graphic Design The Fashion Institute of Design & Merchandising

Ever since I was little, I wanted to be an artist. I took a wide variety of art classes growing up including ceramics, drawing, painting, computer graphics, screen printing, and photography. I never knew what I wanted to pursue until I found FIDM. I looked through their majors and found Graphic Design. It seemed like the perfect fit so I applied to the school. When I got in, I finally felt like I was taking a step in the right direction.

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Typographical Terms 6 Character Studies 10

The Question Mark

The Letter A 14 The Letter F 16

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Sketchbook 18 Ubiquitous Type 22 Logo Designs 24

Name Logos 26

Museum of Modern Typography 28

Newsletter Redesign 30 Typography History 32 Pop! 48 Fonts Used 66

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Typographical Terms GROTESQUE

Grotesque is used as a synonym for sans serif fonts in general. More specifically, grotesque refers to the set of sans serif fonts produced around 1815.

DISTRESSED

Distressed fonts consist of irregular contours and a weathered appearance.

LIGATURE

Two or three characters joined as a single character.

REVERSED

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

SWASH

A capital letter with an ornamental flourish

HAIRLINE RULE

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

WOOD TYPE

Type made from wood.

Formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical.

SLAB SERIF

CURSIVE

A cursive fonts consists of flowing strokes with the lines joined together

CALLIGRAPHY

12 pt. RULE

A black line used for a variety of typographic effects, including borders and boxes.

Elegant handwriting, or the art of producing such handwriting.

Slab Serif is a typeface characterized by thick, block-like serifs

DROP CAP

Display letter that is set into the text

Typographical Terms HANDLETTERING To print by hand.

TRANSITIONAL

A typestyle that combines features of both Old Style and Modern.

GLYPH

A small graphic symbol.

DISPLAY

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

SERIF

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

BLACK LETTER

An early, ornate, bold style of type, typically resembling Gothic.

OBLIQUE

Roman characters that slant to the right.

DINGBAT

A typographical device other than a letter or numeral (such as an asterisk).

KERNING

Adjusting the space between the letters so that part of the letter extends.

BULLET

A typographic element usually used to highlight specific lines of text.

TRACKING

Used in digital typography to mean overall letterspacing.

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The question mark is a universally recognised symbol, and yet its origins remain quite mysterious indeed. And these two sets of origin stories are as different as stories can get, but I’ll try and do my best to cover both.

The Romans The 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. 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.

Alcuin of York The more accepted story by linguists is that of Alcuin of York and his “lighting flash” of a symbol.

Around this time, the need for punctuation in writing was becoming more and more evident, for books were now not only spoken aloud but read silently by monks on their lonesome. Without knowing where to pause or stop, it was a bit hard for monks to enjoy their reading. While there was an old system pioneered by, you guessed it, the Romans in place using a bunch of dots, it wasn’t sufficient. To combat this, Alcuin created the punctus interrogativus to signal an inflection at the end of a clause. The symbol itself was a tilde over one of the old Roman dots.

The Bodoni™ font is a well-known serif typeface series that has had a long history of interpretations by many design houses. The various font styles begin with Bodoni’s original Didone modern font in the late 1700s through to ATF’s American Revival in the early 1900s and into the digital age. The original design had a bold look with contrasting strokes and an upper case that was a bit more condensed then its stylish influence Baskerville®.

The unbracketed serifs and even geometric styling has made this a popular font seen in almost every kind of typesetting situation, but particularly well suited for title fonts and logos.

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 Font Didot

The first Modern typeface is attributed to Frenchman Firmin Didot (son of Franรงois-Ambroise Didot), and first graced the printed page in 1784. His types were soon followed by the archetypal Didone from Bodoni. The Italian type designer, punchcutter and printer Giambattista Bodoni (what a great name! [1740-1813]) drew his influence from the Romains du Roi (with its flat, unbracketed serifs) and the types of John Baskerville (high contrast), for whom he showed great admiration.

History of the letter f. The Greeks used the Semitic sign vau in two forms.

One form (1), called upsilon, was for their vowel u. The other form (2), called digamma, was for the sound w. The latter sign disappeared in Greek, but it was preserved in the Latin writing because the Romans needed a sign for their consonant f. Several forms of the new sign (3 and 4) were used in Italy.

The latter form of this Latin capital came unchanged into English. The English small handwritten f took shape in late Roman and early medieval times. Scribes in the 5th century began to use a continuous curving stroke, making the stroke at the top first, then the stroke down, and finally the lower side stroke (5). A carefully made 9th-century version (6) gave rise to the English printed small f.

The Font Black letter Black letter, also called Gothic script or Old English script, in calligraphy, a style of alphabet that was used for manuscript books and documents throughout Europe—especially in German-speaking countries—from the end of the 12th century to the 20th century. It is distinguished by a uniform treatment of vertical strokes that end on the baseline (e.g., in b or l), the use of angular lines instead of smooth curves and circles (e.g., for b, d, o, or p), and the fusion of convex forms when they occur together (e.g., as bo, pa, and the like).

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T

ypography 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 letterforms 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 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 travelers, 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 traveled 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 rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist.

Letter forms 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

typography are, at any rate, stable enough to weather any number of human fashions and fads. 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 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 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.

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Phi Theta Kappa Hosts:

April 23 - May 4 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

Celebrity Fashion Designer

The Industry Club Welcomes:

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.

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

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Sign our pledge to support survivors. #endrapeculture

Wednesday, April 25

All Day

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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?!

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!

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

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

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

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The Industry Club Hosts:

Pinkies Up: An email ettiquette 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.

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

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Confidence Workshop

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.

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FIDM MODE™ Magazine:

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.

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.

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Student Acivities Presents:

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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.

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!

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

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Celebrate a clean Earth and purchase a reuseable water bottle or tumbler at the FIDM Store.

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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!

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Why Art Deco?

Why Art Deco? I chose Art Deco because I love the geometric qualities of the period. I find the different uses of line and shape very interesting. I like how the designers of the period used simple lines and shapes to create complicated designs. I find the color choices intriguing; they are bright, yet slightly muted. In my own work, I tend to lean towards geometric patterns and shapes, so I find the Art Deco style very inspiring.

What is Art Deco?

Art Deco, also called style moderne, movement in the decorative arts and architecture that originated in the 1920s and developed into a major style in western Europe and the United States during the 1930s. Its name was derived from the Exposition Internationale des Arts DĂŠcoratifs et Industriels Modernes, held in Paris in 1925, where the style was first exhibited. Art Deco design represented modernism turned into fashion. Its products included both individually crafted luxury items and mass-produced wares, but, in either case, the intention was to create a sleek and antitraditional elegance that symbolized wealth and sophistication.

Edward McKnight Kauffer

Raymond Loewy Eliel Saarinen Paul Poiret William Van Alen

Edward McKnight Kauffer

Edward McKnight Kauffer is almost certainly best known for his posters that he produced for London Underground – 140 of them. So it seems slightly strange that he was born in Great Falls Montana. Via the Art Institute of Chicago Kauffer arrived in Paris in 1913 where he met his partner and later wife, the textile designer, Marion Dorn. They moved to London a year later at the outbreak of WW1 and lived in Britain’s capital until 1940 when Kauffer returned to New York where he designed book covers and in 1947 became a client of American Airways – producing many notable posters for the company. He died in 1954.

While Kauffer was in Chicago he witnessed the Armory Show one of the first exhibitions in the US that introduced modernism. It had a major impact on Kauffer who showed abstract influences including cubism, vorticism and futurism all his working life.

Denis Masharov Principal design A fresh decorative geometric grotesque with a hint of Art Deco and c‘onstructivism. Poiret One is a unique typeface with light forms and pure elegance. Sleek and simple. Based on geometric forms, it has stylish lines and graceful curves. The font is applicable for large signs, labels, titles, headlines and any type of graphic design on the web, in motion graphics, or in print - from t-shirts to posters and logos.

It is also well-suited for short texts and advertising where style is desired. Complete with a lower-case letters, the Poiret One is also useful for all-caps usage.

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pop! in this issue: literary journal issue one frank ocean picasso volume seven lil peep ayn rand frida kahlo

pop! literary journal

issue one volume seven

in this issue: picasso

frank ocean lil peep

ayn rand frida kahlo

pop! literary journal

in this issue: ayn rand frank ocean frida kahlo lil peep picasso

issue one volume seven

lil peepfrida kahlo ayn rand

picasso frank ocean

pop! literary journal

volume seven issue one

literary journal

issue one

volume seven

in this issue:

pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!

picasso

frank ocean

lil peep

ayn rand

frida kahlo

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