Molly bailey portfolio final small by Randy Dunbar

typographic

portfolio esign d hic p ra

molly b aile y

SPRING 2016

Fashion Institute of Design & Merchandising

An explanation of the history, usage, and terminology of type as used in the graphic arts.

esign d ic h p ra

molly b aile y

ABOUT ME MO L LY B A I L E Y My name is Molly Bailey and Iâ&#x20AC;&#x2122;m currently a student studying graphic design at the Fashion Institute of Design & Merchandising. I decided to go into design because I have been interested in graphics since I can remember. My style is quite modern and sleek. I like to take a more simplistic approach when possible. I enjoy using color in my designs to amplify to look Iâ&#x20AC;&#x2122;m trying to achieve. I try and focus my effort on the details in my work that others may forget to edit. I plan to start my own company, specializing in selling products that can have graphics put onto them such as hats, t-shirts, mugs, etc. I then eventually plan to work on branding other individuals in their own ventures. My goal with graphic design is to go outside of the box and create new ways to see things. Through this portfolio, I hope to showcase my style while also not losing focus on the meaning of my work.

Molly Bailey

2 TYPOGRAPHIC PORTFOLIO

table of contents 4

FONTS USED

TYPOGRAPHICAL TERMS

LOGO DESIGN

CHARACTER STUDIES

POSTER DESIGN

UBIQUIOUS TYPE

SKETCHBOOK

NEWSLETTER

POP! PROJECT

FONTS USED AV EN I R NEX T N OTER A B E B AS NEUE AL I EN S AND CO WS CO UTUR E M I NI O N PR O B A NG L A M N

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typographical terms Grotesque Wood Type Grotesque, is also known as a san serif font. At other times, it is used to describe a particular style or subset of sans-serif typefaces.

cursive

Cursive, is a type of handwriting in which all the letters in a word are connected to each other.

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.

Calligraphy

The most common point size used for body text.

A visual art related to writing. It is the design and execution of lettering with a broad tip instrument, dip pen, or brush, among other writing instruments.

Hairline Rule

Transitional

12 pt. rule

A very thin rule line typically less than one-half point wide.

Slab Serif

A type of serif typeface characterized by thick, blocklike serifs. Serif terminals may be either blunt and angular, or rounded. Slab serif typefaces generally have no bracket.

Blackletter

A heavy-faced type in a style like that of early European hand lettering and the earliest printed books. It is an early, ornate, bold style of type, typically resembling Gothic.

Distressed A font that intentional flaws into the letters have been introduced.

REVERSED

A lighter typeface on a darker background, such as white text on a black background

Represents the initial departure from centuries of Old Style tradition and immediately predate the Modern period.

Oblique

Swash

A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.

Bullet

A typographical symbol or glyph used to introduce items in a list. • This is one

Glyph À

A hieroglyphic character or symbol; a pictograph.

Dingbat

•••••••

A typographical device other than a letter or numeral, used to signal divisions in text or to replace letters.

Tra c k i n g

A form of type that slants slightly to the right, used in the same manner as italic type. Unlike italic type, however, it does not use different glyph shapes.

Letter-spacing, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text.

Kerning

Serif

Ligature ff

Handlettering

The process of adjusting the spacing between characters in a proportional font.

Occurs where two or more letters are joined as a single glyph.

Drop Cap

large capital letter at the beginning of a text block that has the depth of two or more lines of regular text.

A serif is the little extra stroke found at the end of main vertical and horizontal strokes of some letterforms.

Fonts that are full of character with numerous differences which make them unique.

Display

There is less concern for readability and more potential for using type in an artistic manner.

logo design

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esign d hic p ra

molly b aile y

P ERSO NAL LO G O

& AMPERSAND DESIGN STUDIO

Los Angeles, California

A MPERS A N D LOGO

font used: Brewery, Avenir Next Condensed

MUSEUM LO G O

CHARACTER STUDY- A

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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. (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.

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 Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 The Phoenicians first drew the ox head ‘A’ as a ‘V’ years. They’re also the basis of many of the lowercase with a crossbar to distinguish the horns from the face. designs. ‘A’ is the first letter. There are 25 more stories.

CHARACTER STUDY- V

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It all starts with an Egyptian hieroglyph that depicted a creature the Egyptians called Cerastes (the creature resembled a giant snake or dragon). This mark represented a consonant sound roughly equivalent to that of our F and was, in turn, the forerunner of the Phoenician “waw.” Certainly the most prolific of the Phoenician letters, the waw ultimately gave birth to our F, U, V, W, and Y.

these new additions to their vocabulary. But the sound value given to Y by the Greeks was unknown in the Latin language; when the Romans used it in adopted Greek words it took on the same sound as the letter I.

In the Medieval period, two forms of the U (one with a rounded bottom and one that looked like our V) represented the ‘v’ sound. It wasn’t until relatively Sometime between 900 B.C. and 800 B.C. modern times that the angular V was exclusively the Greeks adopted the Phoenician waw. They used retained to represent our ‘v’ sound, and the version it as the basis for not one, but two letters in their with the rounded bottom was left with the single job alphabet: “upsilon,” signifying the vowel ‘u’ sound, of representing the vowel ‘u’. and “digamma,” for the ‘f’ sound. Upsilon was also As for the graphic form of W, it was created used by the Etruscans and then the Romans, both for the semiconsonantal ‘w’ sound and the vowel ‘u’, but by the Anglo-Saxons, more or less during the 13th the form of the letter looked more like a Y than either century. Sensibly, they tried to distinguish among the various sounds represented by the inherited a U or a V. letter when they wrote it down. So, though they In ancient Rome the sounds of U, V, and W, used a V for both the ‘u’ and ‘v’ sounds, they wrote as we currently know them, were not systematically the V twice for the ‘w’ sound. Eventually the two distinguished. Context usually determined the Vs were joined to form a single character, called correct pronunciation. As a result, the Roman sharp- “wen.” This early ligature stuck and became part of angled monumental capital V was pronounced both the common alphabet rather than an accessory. as a ‘w’ in words like VENI (pronounced “way-nee”) and as the vowel ‘u’ in words like IVLIUS (pronounced The French, rather than use a foreign letter as “Julius”).And what happened to the Y? After the in their alphabet, preferred to double one of their Roman conquest of Greece in the first century B.C., the own characters. They chose the U and called the Romans began to use some Greek words. They added letter “double vay.” To the English it became a the Greek Y to the Latin alphabet to accommodate “double U.”

POSTER DESIGN

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FIRMIN

the Museum Of Modern Typography Presents an exhibit of the creator of the fashion font

June 21-September 18, 2016 Modern typefaces, characterized by consistently horizontal stress, ﬂat and unbracketed serifs, and a high contrast between thin and thick strokes, were the ﬁnal step in typography’s two hundred year journey away from calligraphy. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: in Parma, GIAMBATTISTA BODONI (1740-1813), and in Paris, FIRMIN DIDOT (1764-1836). Didot was a member of the Parisian dynasty that dominated French typefounding for two centuries, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style. The font, Didot, is used as the masthead for both Vogue and Harpers Bazaar.

Museum of ModernTypography

221 South Grand Avenue Los Angeles 90012 www.museumofmoderntypography.com

UBIQUITOUS TYPE 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 manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something 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, 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

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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 donâ&#x20AC;&#x2122;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. It is true that typographerâ&#x20AC;&#x2122;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.

sketchbook

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sketchbook

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sketchbook

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fidm newsletter

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weekly

WHAT’S GOING ON AROUND CAMPUS

WEEK OF APRIL 25-29 MOTHER’S DAY POP UP AT THE FIDM MUSEUM SHOP

Meet current FIDM student Sky Lim, and check out her unique line of leather accessories. Exclusively sold in the Museum Shop. Additional limited edition jewelry will be featured by alumna Rafia Cooper.

June 2016 Graduates!

Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the student portal? Any questions please see Elizabeth in room 313.

FIDM Visit by Academic Partnerships GUESS? Inc. Sustainable Product (Transfer Schools from New York and London) Representatives from the Laboratory Institute of Merchandising (LIM) in Manhattan, New York will be on campus Monday April 25, 2016 and from Regents University (formerly AIU London) in London, England will be on campus Friday, April 29, 2016. If you interested in learning more about these transfer options or scheduling an appointment with the representatives from these schools contact Ben Weinberg in room 208A extension: 3405.

Help is Here for the Asking Costume Exhibition Closing Soon! Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30! The show features costumes from 23 films, including Star Wars, Cinderella, Crimson Peak, and the Oscar winner for Best Costume Design Mad Max: Fury Road. The Museum is always FREE, and students receive a 20% discount in the Museum Store! Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.

JUNE 2016 GRADS MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016. E-Exits are available online at WWW.UASEXIT.COM COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held. If you have any questions, please call Evelyn Garcia at (213) 624-1200 ext 4292 or stop by Room 401-N.

Assistance is available in writing, mathematics, accounting, statistics, critical thinking, time management, and much more. Come to the IDEA Center, located in the Design Studio East on the ground floor of the Annex. M – Th: 8:00 – 5:00 p.m. F: 8:30 a.m. – 4:00 p.m. x3225 or x4558 DESIGN STUDIO EAST HOURS (computers/ printers) M – Th: 7:00 a.m. – 8:00 p.m. F: 7:00 a.m. – 6:00 p.m. Sa: 9:00 a.m. – 4:00 p.m. Design Studio West is now open! Instructor-led workshops in Photoshop/ Illustrator & Sketching have begun. Stop by the IDEA Center or check the FIDM Portal for a schedule of instructors. Design Studio West Hours M – F 8:30 a.m. – 6:00 p.m.

Lifecycle Course

In partnership with Guess?, Inc. FIDM is developing a sustainability course on “The Sustainable Product Lifecycle”. 15 selected students will be immersed in hands-on course work, labs and field trips to enable them to understand, create and analyze innovative practices aiming to reduce a product’s impact on the global environment. This 8 week course will start July 2016 and will be held on Wednesdays from 12:00PM2:45PM. Applications for this FREE EXCLUSIVE course are available on the portal or in suite 201, desk 5. Application and written response is due April 28th. Please contact lnavas@fidm.edu with questions. This course is open to all current FIDM students.

The FIDM Bookstore

The FIDM Store is now carrying the Makeup Eraser! This amazing cloth uses only water to take off ALL of your makeup! Wow! Save yourself a trip to the beauty store and get it at The FIDM Bookstore! Quantity is limited, grab one before they’re all gone!

Travel to New York! CAREER CENTER

FOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job # 65928, and sign up through Career Network. SAVE THE DATE, INDUSTRY EXPO on May 11 at 10:00 a.m. to 2:00 p.m. Come network with our industry partners. ALL STUDENTS AND ALUMNI ARE WELCOME.

Spend your quarter break exploring NYC! Sept 25 – Oct 1 meet with FIDM alumni who will share their industry experience. See a Broadway show, shop the stores for the latest trends, and experience the Big Apple! Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fidm.edu

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WEEK 1 andy warhol

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volume ten

jasper johns

issue nine larry rivers visual project frank oâ&#x20AC;&#x2122; hara pop! frida kahlo

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WEEK 3

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roy lichtenstein

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in this issue: frank oâ&#x20AC;&#x2122; hara andy warhol roy lichtenstein jasper johns visual project

WEEK 7

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

popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l kahlo pofrida psi!sukahlo enn i efrd i akfrida aho la lryrviersvou lfrida mekahlo tenn i thsisisufrida e:frankahlo ko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l larry rivers larry rivers larry rivers larry rivers povolume psi!suen n i efrd i akvolume aho l alrytenrviersvou lvolume meten n i thsisisuvolume e:franko ’haraandywarhoajlspero j hnsvsiuap l roejctroy-l ten ten ten this issue: in this issue: poinfrank pthis si!suo’issue: ehara nn i efrd i ainfrank kathis ho lo’alissue: rhara yrviersvoinfrank u lm eo’tehara nn i thsisisfrank ue:frano’khara o’haraandywarhoajlspero j hnsvsiuap l roejctroy-l warhol andy warhol andy warhol andy warhol poandy p s i ! s u e n n i e f r d i a k a h o l a l r y r v i e r s v o u l m e t e n n i t h s i s i s ue:franjohns ko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l jasper johns jasper johns jasper johns jasper visual project project project visual project proyo plichtenstein si!suenn i efrd i aroyvisual kalichtenstein ho la lryrviersvroy ovisual u lm e t e n n i t h s i s i s ue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l lichtenstein roy lichtenstein popsi!suenn i efrd i akaho l alryrviersvou l metenn i thsisisue:franko’haraandywarhoajlspero j hnsvsiuap l roejctroy-l

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frida kahlo larry rivers volume ten in this issue: frank o’ hara andy warhol jasper johns visual project roy lichtenstein

frida kahlo larry rivers volume ten in this issue: frank o’ hara andy warhol jasper johns visual project

32 TYPOGRAPHIC PORTFOLIO

in this issue: frank oâ&#x20AC;&#x2122; hara andy warhol jasper johns

visual project

WEEK 9

esign d hic p ra

molly b aile y