Portfolio The Art
o f Ty p o g r a p hy
Samantha Montiforte Spring 2017
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I N T R O
Main Street, Number City Name (Country) 123-456-789 www.yourdomain.com yourname@domain.com
D
uring quarter I
have learned how to use InDesign comfortably and the importance of Typography. Before this class I did not have a good understanding of layouts and fonts, but now I feel like I have a better eye for design. I have learned so much about the importance of small detail and the huge impact it can have on changing the feeling of the piece. For example changing the leading or tracking of a font can dramatically change the outcome. Overall I think this class will help me in all of my projects here forward. I will continue my journey with learning Typography and look forward to it.
T A B L E
OF C O N T E N T
/05 Fonts Used /06 Typographic /08 Character Stud/016 Logo Design /018 Ubiquitous /020 Brochure /024 Typographer /026 Sketchbook /030 Poster /032 Pop
F O N T S U S E D
Andale Mono
MyriadPro-Regular
Bell MT
MORVA
Bold & Stylish Calligraphy Myanmar MN HelveticaNeue
Attentica 4F UltraLight
Lucian Schoenschrift CAT
Modern Serif
Marion
Myanmar Sangam MN
Norican-Regular
OstrichSans-Medium
MinionPro-Regular
MinionPro-Regular
ZapfDingbats jfahe
ACaslonPro-Bold
Arial Black
ACaslonPro-Regular
Arial
Andale Mono
Gotham-Bold
Arial Bold
OdalisqueNF
BodoniFLF-Roman
Shree714
Lao Sangam MN
Silom
Myanmar MN
Avenir
NEOTERIC_ - Regular
adriator
NeutraDisplay-Medium
AnticDidone-Regular NeutraDisplay-Thin BrushScriptStd
Palatino
Carnevalee Freakshow
RainbowMansion-lf
Shree714
Marion
Vidaloka-Regular Lucian Schoenschrift
Reina 12 Pro Marion
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GEOMETRIC
The repetition of simple geometric shapes forms a daily part of our environment. There are four categories: circles, squares, ovals, and triangles.
Black Letter
Also called Gothic. A style of handwriting popular in the Fifteenth century.
D
rop Cap
A large initial letter that drops below the fIrst line of a paragraph, usually used at the begiing of a section or chapter of a book.
Serif
The opening and closing cross strokes in the letterforms of some typefaces.
ĂŚ
Ligature two or three characters joined as a single character
Typograph Illustr Egyptian Font
In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block like serifs.
Didone A genre of serif typefaces that emerged in the late 18th century and is particularly popular in Europe. it is characterized by narrow and unbracketed (hairline) serifs
Em–Dash
Also called a long dash. A dash the width of an em-quad
Hairline Rule Type made from wood. Formerly used for the large display sizes more than 1 inch where the weight of the metal made casting impractical.
T
used in overal
D
Script featur exagge design copy s
D
Type us above
D
type m that ap throug
hic Terms r at e d r a c k i n g
n digital photography to mean ll letter spacing
Decorative
fonts, fonts with extreme res such as swatches or erated serifs, and any fonts ned to be used at larger than body sizes.
Display Type
sed to attract attention usually 14 points in size
Distressed
made to look worn that has areas ppear torn, shredded, or worn gh
Cursive Black letter also called Gothic. a style of handwriting popular in the fifteenth century
Calligraphy A fIne line or rule, 1/4 point in thickness. a thin stroke usually common to serif typefaces
Dingbat usg in typography, a dingbat is an ornament, character, or spacer used in typesetting often employed for the creation of box frames
Wood Type Type made from wood. Formerly used for the large display sizes more than 1 inch where the weight of the metal made casting impractical.
Reversed Type
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in printing refers to type that drops out of the backround and assumes the color of the paper
Character Studies | A
THE HISTORY OF THE LETTER A
A. This letter of ours corresponds to the first symbol in the Phoenician alphabet and in almost all its descendants. In Phoenician, a, like the symbols for e and for o, did not represent a vowel, but a breathing; the vowels originally were not represented by any symbol. When the alphabet was adopted by the Greeks it was not very well fitted to represent the sounds of their language. The breathings which were not required in Greek were accordingly employed to represent some of the vowel sounds, other vowels, like i and u, being represented by an adaptation of the symbols for the semivowels y and w.
ABOUT THIS FONT HELVETICA BOLD EXTENDED
A. This letter tof ours corresponds to the first symbol in the Phoenician alphabet and in almost all its descendants. In Phoenician, a, like the symbols for e and for o, did not represent a vowel, but a breathing; the vowels originally were not represented by any symbol. When the alphabet was adopted by the Greeks it was not very well fitted to represent the sounds of their language. The breathings which were not required in Greek were accordingly employed to represent some of the vowel sounds, other vowels, like i and u, being represented by an adaptation of the symbols for the semivowels y and w.
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@
Character Studies | @
The History of the @ Symb Whatever the origin of the @ symbol, the history of its usage is more well-known: it has long been used in Spanish and Portuguese as an abbreviation of arroba, a unit of weight equivalent to 25 pounds, and derived from the Arabic expression of “a quarter” (pronounced ar-rub). An Italian academic claims to have traced the @ symbol to the 16th century, in a mercantile document sent by Florentine Francesco Lapi from Seville to Rome on May 4, 1536. The document is about commerce with Pizarro, in particular the price of an @ of wine in Peru. In Italian, the symbol was interpreted to mean amphora (anfora). Currently, the word arroba means both the at-symbol and a unit of weight. In Italian, the symbol represents one amphora, a unit of weight and volume based upon the capacity of the standard amphora jar, and entered modern meaning and use as “at the rate of” or “at price of” in northern Europe.
@
bol
About this Font: Forum
Forum has antique, classic “Roman� proportions. It can be used to set body texts and works well in titles and headlines too. It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities.
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&&
Character Studies | &
The History of the Ampersand
The origin of the ampersand can be traced back to the Latin word et, meaning ‘and’. The E and the T that make up this word were occasionally written together to form a ligature (a character consisting of two or more joined letters). Writing the word this way saved the writer time, with one letter flowing seamlessly into the next – a form of cursive or joined up writing.
It’s impossible to say exactly when this symbol was first written down, but an early example has been found as graffiti on a wall in Pompeii, preserved by the eruption of Vesuvius in 79AD. It can be very difficult to trace the development of symbols over time, but with the ampersand the work has already been done for us, by one Jan Tschichold, a typographer born in Leipzip in 1902. Tschichold devoted an entire study to the development of the ampersand in his 1953 booklet The ampersand: its origin and development, where he collected hundreds of examples of the symbol throughout history, recording its development from the piece of ancient graffiti to the familiar ‘&’ used today. Within this collection are examples from the eighth century which are already recognizable as the modern ampersand. For such an ancient symbol, the name ‘ampersand’ is surprisingly modern. First seen in the late 18th century, it comes from an alteration of and per se and (literally ‘and (i.e. &) by itself makes the word and’), which was once chanted by schoolchildren as an aid to learning the sign.
&& About This Font: Baskerville
Baskerville is a serif typeface designed in the 1750s by John Baskerville in Birmingham, England and cut into metal by John Handy.Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon.
Compared to earlier designs, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position.The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville’s time
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Character Studies | A
THE HISTORY OF THE LETTER
T T is the 20th letter in the modern English alphabet and the ISO basic Latin alphabet. It is the most commonly used consonant and the second most common letter in English language texts. Taw was the last letter of the Western Semitic and Hebrew alphabets. The sound value of Semitic Taw, Greek alphabet Tιυ (Tau), Old Italic and Latin T has remained fairly constant, representing [t] in each of these; and it has also kept its original basic shape in most of these alphabets.
ABOUT THIS FONT TIMES NEW ROMAN BOLD A. This letter tof ours corresponds to the first symbol in the Phoenician alphabet and in almost all its descendants. In Phoenician, a, like the symbols for e and for o, did not represent a vowel, but a breathing; the vowels originally were not represented by any symbol. When the alphabet was adopted by the Greeks it was not very well fitted to represent the sounds of their language. The breathings which were not required in Greek were accordingly employed to represent some of the vowel sounds, other vowels, like i and u, being represented by an adaptation of the symbols for the semi-vowels y and w.
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L O G O D E S I G N
SM Samantha Montiforte
Graphic Design
Samantha Montiforte Graphic Design
M
Museum of
Modern
Typography
Museum of Modern Typography Museum of Modern Typography Museum of Modern Typography Museum of Modern Typography
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Ubiquito
The presence of typography both
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 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 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,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
ous Type
h good and bad, can be seen everywhere.
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 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.”
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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B R O C H U R E
S
Money Making Opportunity
Fresh Ideas
Time Efficent
Ch Website Customization
Customer Service
Social Media
ww
us chec
heck out my portfolio by going to ww.mywebsitename.com or se the QR code below to ck out my instagram page
Located in Los Angeles, California
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B R O C H U R E
S
amantha Montiforte combines expertise in brand stratgy, identity,
digital retail, environmental, product and service design to define and connect every aspect of a brand experience. I can start with a single touch point or address holistic journeys for organizational and consumer brands, with a focus on delivering measurable buisness growth. Our work is hypothesis driven, evidence based, and powered by rapid prototyping to help clients test, improve, and deliver change to stay ahead of the market.
D
?
Ampersand Design Studio Los Angeles, California
Main Street, Number City Name (Country) 123-456-789 www.yourdomain.com
yourname@domain.com
Adrian Frutiger
design of type of the 21st. H metal, typese lived i
F Unive landm the thr typefa and ge being to form family, weigh sans-s work,� design
r
was a Swiss typeface ner who influenced the direction e design in the second half 20th c entury and into the His career spanned the hot , phototypesetting and digital etting eras. Until his death, he in Bremgarten bei Bern.
Adrian Frutiger’s first commercial typeface was Président — a set of titling capital letters with small, bracketed serifs, released in 1954. A calligraphic, informal, script face, Ondine (“wave” in French), also was released in 1954. In 1955, Méridien, a glyphic, old-style, serif text face was released. The typeface shows inspiration by Nicolas Jenson, and, in the Méridien type, Frutiger’s Frutiger’s most famous designs, ideas of letter construction, unity, ers, Frutiger and Avenir, are and organic form, are first expressed mark sans-serif families spanning together. Raph Levien described as ree main genres of sans-serif a “Frutiger trademark” his common aces: neogrotesque, humanist eometric. Univers was notable for use of an “a” where the loop makes a horizontal line at the top on meeting one of the first sans-serif faces the vertical. It makes use of narrow m a consistent but wide-ranging wedge serifs, a style sometimes known y, across a range of widths and as Latin which Frutiger would often hts. Frutiger described creating use in his future serif designs. In 1956, serif types as his “main life’s he designed his first-of-three, slab” partially due to the difficulty in ning them compared to serif fonts. serif typefaces — Egyptienne, on the Clarendon model; after Univers, it was the second, new text face to be commissioned for photo-composition.
S K E T C H B O O K
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P O S T E R D E S I G N
THE MUSEUM OF PRESENTS A
ADRIAN F
196
Museum of
UNIVERS
F M O D E R N TY P O G R A P H Y AN EXIBIT OF
FRUTIGER’S
JUNE 21 SEPTEMBER 23
62 Grand Avenue Los Angeles, CA 90015 www.mmtLa.com
f Modern Typography
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visual project in this issue: pop
P O P
issue one andy warhol roy lichtenstein lary rivers volume seven
frant o’hara
jasper johns
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pop in this issue: visual project andy warhol jasper johns roy lichtenstein volume seven issue one lary rivers frant o’hara
pop in this issue: in this issue: in this issue:
jasper johns
visual project
Roy lichtenstein
volume seven
larry rivers
andy warhol frank o’hara
issue one issue issue one one issue one issue one
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pop
visual project issue one
volume seven in this issue:
andy warhol roy lichtenstein
jasper johns larry rivers
fronk o’ hara
in this issue:
visual project visual project
in this issue:
jasper johns
pop
Roy lichtenstein
issue one
issue one jasper johns
volume seven frank o’hara
larry rivers
andy warhol visual project frank o’hara
jasper johns
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