Mon typographyportfolio

'The Art of Typography'

Fashion Institute of Design & Merchandising

1 Type Folio

Fonts Used Helvetica Arial Baskerville Bondoni Copperplate Futura Impact Luminari Microsoft Sans Serif Minion Pro PT Serif Times New Roman WTR Fatboy

2 5-6 7-8 9-10 11-16 17-18 19-20 21-22 23-36

37-46 47-50

Fonts Used

Introduction to typography

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Alignment

Typography is a fun element to play around with. Whether work related or creating fun projects, you can use typography to create. Even though type can be boring, you can use small illustrations or even letters to make it more

interesting visually. Typography used as a visual communication component to present to the audiences.

Typography can be hard and it can also be as easy as filling out the provided contents in the given layout. To be more advanced in typogrpahy, you

must be able to create your own layout and arrange the types. From knowing how to use kerning, leading, and tracking to adjust the paragraphs. From creating ‘avant-garde’ type displays visuals and layouts to make it look more interesting and pleasing for the eye. You can use type to design.

I personally use typography to design projects, postcards, logos, and fun illustration images as hobby for my personal type journey.

typographical

terms

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Ubitquious Type

Abcde & st Łł Øø •

Bullet

& st Łł Øø

Dingbat

3500 BCE

Alphanumeric

Title Once upon a

So she hikes...

Ligature

Display Type Drop Cap

Legibility and Readability

Esthetics

Legibility is the quality of the typeface design and readability with the design of the printed page. Designers aim to achieve excellence in both.

The typeface you choose should be legible, the is, it should be read without effort.

Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. Generally speaking, typefaces that are true to basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. Therefore always start with a legible typeface.

Keep in mind, however, that even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design.

There is no formula for defining beauty in a typeface or type arrangement, but there are standards of typographic excellence that have been established over the centuries. For example, early typesetters and printers would always strive for the highest level of legibility and readability through careful consideration of typeface design, letter spacing, word spacing, linespacing, and other typographic refinements that will be discussed in this part.

Today these considerations continue to play a significant role in determining excellence in typography. Esthetic choices tend to bee dictated by these standards, as w well as the designer’s taste and experience.

Ellipsis Blackletter Grotesque

abcde

Abcde

abcde A b c

Slab Serif Oblique Reversed Distressed

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Sketch Book 11 Type Folio

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museum of Modern Typography logo designs

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O O O

O

Logo Designs GRAPHIC DESIGN

Myat Su Mon

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Pictographs

Flame

Stars

Desire

Music

Character

Ocean

Studies

Ideograph

Bright Stars

Upcoming Desire

Fire in a hole

Notes

Wave after wave

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Character Studies

a

J

elly-o sesame snaps halvah croissant oat cake cookie. Cheesecake bear claw topping. Chupa chups apple pie carrot cake chocolate cake caramels.

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.)

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’.

25 Type Folio

A

This remarkable typeface first appeared in 1932 in The Times of London newspaper, for which it was designed. It has subsequently become one of the worlds most successful type creations. The original drawings were made under Stanley Morison’s direction by Victor Lardent at The Times. It then went through an extensive iterative process involving further work in Monotype’s Type Drawing Office. Based on experiments Morison had conducted using Perpetua and Plantin, it has many old style characteristics but was adapted to give excellent legibility coupled with good economy. Widely used in books and magazines, for reports, office documents and also for display and advertising.

Character Studies

q

For as long as there have been Qs, designers have been having fun with the letter’s tail. This opportunity for typographic playfulness may even date back to the Phoenicians: the original ancestor of our Q was called “ooph,” the Phoenician word for monkey. The ooph represented an emphatic guttural sound not found in English, or in any Indo-European language.

Most historians believe that the ooph, which also went by the name “gogh,” originated in the Phoenician language, with no lineage to previous written forms. Historians also believe that the character’s shape depicted the back view of a person’s head, with the tail representing the neck or throat.

It’s possible, but if you consider that the letter’s name meant monkey, then perhaps the round part of the symbol represents another kind of backside, and the tail of what became our Q may have started out as, well, a tail.

The Greeks adopted the ooph, but found it difficult to pronounce, and changed it slightly to “koppa.” The Greeks also modified the design by stopping the vertical stroke, or tail, at the outside of the circle. The koppa, however, represented virtually the same sound as “kappa,” another Greek letter. One of them had to go, and koppa was ultimately the loser, perhaps because it had begun to look much like another Greek letter, the P.

Unlike the Greeks, the Etruscans could live with the somewhat redundant nature of the koppa, and continued to use the letter. In fact, they had two other k-sound letters to contend with. The Romans elected to use all three signs when they adopted much of the Etruscan alphabet.

The first Roman Q had the Etruscan vertical tail, but over time it evolved into the gracefu

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Character Studies

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.

Etymology

Rooted in the Latin “et” (meaning “and”), the ampersand is a ligature composed from the letters “e” and “t”.

The word “ampersand” itself is an alteration of “et per se and,” which became corrupted to “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 times when a little ampersand creativity can produce excellent typographic results. The following are a few guidelines and suggestions for getting a little more from this special character.

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Chuckfive Print

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Character Studies

Any way you look at it, the S is a complicated letter. Not only is it one of the more challenging characters to draw, but the story of its evolution has more twists, turns, and reverses than its shape.

The serpentine saga of our 19th letter gets its first false start with the early Egyptians and their hieroglyph for the ‘s’ sound, which was a drawing of a sword. Later, in the Egyptians’ hieratic writing, the sword was simplified until it looked more like a short piece of barbed wire than a weapon of war. When the Phoenicians built their alphabet on the Egyptian model, they rotated the piece of barbed wire 90 degrees and called it “sameth,” which meant a post. The Greeks adopted this letter but not as a true ‘s’ sound. Consider this a major reversal in the evolutionary road.

Early Roman

At the same time that the Egyptians were using the symbol of a sword to represent the ‘s’ sound, they also used a drawing that represented a field of land to represent the ‘sh’ sound. Like other hieroglyphs, the field symbol was simplified during the transition to hieratic writing. But unfortunately for the Egyptian scribes, the symbol’s usage became more complex. The reason? The Egyptians allowed as many as nine different versions of the symbol to exist at the same time. There were so many, in fact, that one wonders how they kept track.

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Character Studies

The Phoenicians dropped most of these Egyptian ‘sh’ characters and settled on something that looked like our W to represent the ‘sh’ sound in their language (the symbol, aptly, represented teeth). The Phoenicians called their version of the letter “shin” or “sin.”

The Greeks borrowed the shin from the Phoenicians but drew it with three, four, and sometimes even five strokes. In some cases it hardly resembled the original Phoenician symbol, but in each the basic zigzag shape of the letter was maintained.

In its final Greek form the character became the sigma, which resembles our present capital M lying on its side.

The Romans used a form of the sigma, which omitted the lower horizontal stroke of the character and made it look a little like a backward Z. Over time, the Romans changed the sharp angles of the sigma into softer, rounded forms an d finalized the letter into its current graceful shape.

Does the story of the S end here, with the ancient Romans? Not quite; there are still a few twists and turns left. In English manuscripts of the 17th century, a lowercase version of the letter was modified to look remarkably like our lowercase f and stood for the long ‘s’ sound.

Even today, the German language uses a letter which resembles a capital B (probably made up of a long and a short s), to represent the double lowercase s in words like “Strasse” and “weiss.”

The twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet. They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning.

Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface).

The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the

Romans conquered the Greeks. In order to write these words a Z was required, and so, several centuries after it was first banished from the Roman alphabet, the Z was allowed to return. However, because the letter was not a part of the traditional Roman language, the Z was relegated to the last spot in the alphabetical hierarchy.

The Romans used the capital I form of the letter in their monumental inscriptions, but there are none to be found in the famous Trajan Column (since there are no Greek words inscribed there).

It was only when the letter was written by scribes and calligraphers that the top and bottom strokes were offset from each other and connected by what became a diagonal, rather than vertical, stroke. The reason for this design change? Probably because it was quicker and easier to write. The lowercase ‘z’ is simply a smaller version of the capital, no doubt for the same reason.

37 Type Folio

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43 Type Folio

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Poster Project 47 Type Folio

O The Museum of Modern Typography presents the work of

March 15th 221 S Grand Avenue Los Angeles, CA 90019 www.museumofmoderntypography.com

www.museumofmoderntypography.com

March 15th 221 S Grand Avenue Los Angeles, CA 90019

The Museum of Modern Typography presents the work of

The Museum of Modern Typography presents the work of

March 15th 221 S Grand Avenue Los Angeles, CA 90019 www.museumofmoderntypography.com