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Sheila Monica Graphic Design
TYPOGRAPHICAL
Po rt f o li o
Fashion Institute of Design & Merchandising
“An Exploration of the Histor y Usage and Terminology of Typography in the Graphic Arts”
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Sheila Monica Graphic Design
Hello! My name is Sheila Monica. I’m always interested in words, shapes, colors, and how they interact with each other. My interest drove me to pursue a major in Graphic Design, which I’m currently studying at The Fashion Institute of Design and Merchandising. My current goal would be to graduate, and pursue a career in the Graphic Design industry. My long term goal would be to open my own design company.
TABLE OF CONTENTS
About Table of Contents Font Used Typography Terms Character Studies Logo Design Ubiquitous Type Sketch Book Poster Design Pop!
02 04 06 08 10 22 24 26 30 32
FONTS USED
Big John Bebas Choplin Concert One Gill sans Prism Unique Nilland Porter Helvetica
Didot Baskerville Copperplate Rosewood Std Bauhaus 93 Gentona Milliard Rational RBNo2.1b Helvetica Neue
TYPO GRAPHy TERMS
Character Studies
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.) 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.
ABOUT THIS FONT: DIDOT
T
he 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 letters I and J follow each other in the alphabet and look a lot alike. So it comes as no surprise to discover that our ninth and tenth letters started out as the same character. The Phoenician ancestor to our present I was a sign called “yodh,” meaning “hand.” The original Phoenician symbol evolved over time into a zigzag shape that was eventually adopted by the Greeks. The Greeks often simplified the symbols they borrowed, and the yodh was no exception. As used by the Greeks, the zigzag became a simple vertical line. The Greeks also changed the name of the letter to “iota.” Eventually, somebody must have grown tired of using one letter to represent two sounds, and so an attempt was made to differentiate them by lengthening the I slightly to represent the semivowel. In the 16th century, a lettering artist decided that merely lengthening the letter was too subtle a change, and added a hook to the bottom of the J.
B
askerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master
type-founder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface.
ABOUT THIS FONT: BASKERVILLE
Character Studies
Historians tell us that our current M started out as the Egyptian hieroglyph for “owl.” Over thousands of years, this simple line drawing was further distilled into the hieratic symbol for the ‘em’ sound. Eventually, the great-grandparent of our M looked a bit like a handwritten ‘m’ balanced on the tip of one stroke. The Phoenicians called the letter mem. It’s easy to see that the Phoenician mem is based on the Egyptian hieratic symbol, and that it’s the forerunner of the thirteenth letter of our alphabet. The mem looked much like our two-bumped lowercase ‘m’ with an added tail at the end. The Etruscans and then the Romans adopted the Greek form, but neither made substantial changes to the shape or proportions of the character. Sometime in the third or fourth century A.D. the rounded lowercase ‘m’ began to appear, but it was almost lost in later centuries. In medieval writing, it became common practice to place a stroke over the preceding letter instead of writing the ‘m’ (probably because ‘m’ is one of the more time-consuming letters to write).
ABOUT THIS FONT:
GILL SANS
T
he successful Gill Sans was issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface
that Gill’s teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography.
Character Studies
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 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.
ABO C
C
opperplate Gothic is a typeface designed by Frederic W. Goudy and released by the American Type Founders (ATF) in 1901. The face shows an unusual
combination of influences: its small glyphic serifs act to emphasize the blunt terminus of vertical and horizontal strokes and they are reminiscent of stone carving. The wide horizontal axis is typical of Victorian display types, yet the result is far cleaner and leaves a crisp impression in letterpress or offset printing. The typeface is most often used in stationery, for social printing, and is classically seen acid-etched into glass on the doors of law offices, banks and restaurants.
OUT THIS FONT: COPPERPLATE
Character Studies
K was the 11th character of the ancient Semitic alphabets, a position it still retains in our current character set. In form, it has probably varied less than any other character. The Semitic sign “kaph,” the forerunner of our K, was a three-stroked character that represented the palm of an outstretched hand. While several versions of the kaph were used by the Semites, and more specifically the Phoenicians, all were composed of three strokes drawn in a similar fashion. First, the character was a simple drawing of a hand. Next, the character looked something like our Y with a short middle stroke between the two longer diagonals. Finally, it was simplified even more and turned on its axis so that its two diagonals pointed left (like a backwards version of our K). But even as the character was modified and turned in several directions throughout its evolution, the basic form remained nearly the same. The Greeks took the simplified version of the kaph and introduced symmetry into the design. Eventually, they also turned the character around so that the diagonals faced right. The Greeks even kept the basic name of the letter, changing it only slightly, to “kappa.” In the Greek language, two signs represented the ‘k’ sound: K and Q. The Etruscans, however, had three signs for the same sound: C, K, and Q. The early Romans adopted all three, but in time dropped the K, using it only for words acquired from the Greeks, or those of an official nature. The latter use was probably the reason the K made it to the Roman monumental inscriptions, which set the standard for our current design.
A
dobe’s Rosewood, released in 1994, is modeled after Clarendon Ornamented first shown by William H. Page in his 1859 Specimens of Wood Type. Page’s chromatic
version of Clarendon Ornamented was first shown in the October, 1868 issue of The Chicago Specimen the periodical of the Chicago Type Foundry.
ABOUT THIS FONT:
Ro s ewo o d ST D
Character Studies
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.”
ABO
B
OUT THIS FONT:
Bauhaus 93
B
auhaus 93 is a decorative font with simple geometric forms and even strokes that give the font a clean and distinctive look. This version is licensed from URW++
and is compatible with the version that Microsoft included in versions of Microsoft Office and Publisher.
LOGO DESIGN
Sheila Monica Graphic Design
Sheila Monica graphic design
Sheila Monica G ra p hic D esig n
Sheila Monica Graphic Design
MOMT
Museum of Moder n Typog r ap hy
M O MT
Museum Of Modern Typography
momt
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M u s e u m o f M o d e r n Ty p o g r a p h y
Museum Of Modern Typography
Ubiquitous Type The presence of typography both good and bad, can be seen everywhere.
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 letter- forms 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 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 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 rightthinking human beings are struggling to remember that other men and women are free to be different,6 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 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,
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”
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 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, of It is true that typographer’s tools are presently 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.
SKETCH BOOK
SKETCH BOOK
poSTER DESIGN
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pop! visual project
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Week 8
p o p ! p o p ! p o p !
visual project issue one volume seven in this issue: banksy shepard fairey andy warhol larry rivers jasper johns
Week 9 in this issue:
volume seven
issue one
visual project
pop! andy warhol
banksy
jasper johns
shepard fairey
larry rivers
SM
Sheila Monica Graphic Design