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Port Folio

MADISON ONGSTAD SPRING 2016

“an exploration of the history, usage and terminology of type as used in the graphic arts.”

FASHION INSTITUTE OF DESIGN & MERCHANDISING

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As a graphic designer living in the growing city of Los Angeles, I find myself being constantly inspired by my surroundings and interested in representing myself through my experiences in the city. Mixing elegance and grace with street and urban has allowed me to expand my mind to all different cornors of the design world. I tend to favor the sleek and modern look but vintage lettering and colors can be seen in my works as well.

Table of Contents Logo & About me

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fonts used

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terms

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logo design

6-7

chacater study [A]

8-9

character study [V]

10-11

poster design

12-13

ubiquitious type

14-15

sketchbook

16-19

newsletter

20-21

pop!

22-31

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fonts used futura impact

helvetica neue

bebas neue didot hemmet

carnivalee Freakshow

Brush Script Minion Pro

ITC Avant Garde

Chalkduster

PT Sans Narrow Apple Symbols

superclaredon helvetica

punk’snotdead blackletter phosphate amatraca grotesque

Zapfino PT Serif Candlescript Hoefler Oriya MN Savoye LET drybrush

bubble bash kidnapped at German Four

A thin stroke usually common to serif typefaces.

HAIRLINE RULE

A form of type that slants slightly to the right, used in the same manner as italic type.

OBLIQUE

A particular style or subset of sans-serif typefaces.

GROTESQUE

The uniform amount of spacing between characters in a complete section of text (sentence, line, paragraph, page, etc.).

TRACKING

BLACKLETTER

A style of writing in which all the letters in a word are connected.

Cursive

A potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner

display

A decorative extension or stroke on a letterform.

SWASɧ

A short line or stroke attached to or extending from the open ends of a letterform.

SERIF

A heavy angular condensed typeface used especially by the earliest European printers and based on handwriting used chiefly in the 13th to 15th centuries.

A non-standard (sometimes decorative) variation of a character that comes as an extra option with a font file.

GLY PHS

White characters on a dark background

REVERSED

A font purposely blemished or marred so as to give an antique appearance

DISTRESSED

The default size in digital word processing.

↔

12 PT RULE

Typeface characterized by thick, block-like serifs.

SLAB SERIF

Two or more letters that are connected to form one character.

LIGATURE

The horizontal spacing between two consecutive characters.

KERN ING

Wood has been used for letterforms and illustrations which wood type font aims to imitate.

Wood Type

This usually refers to Roman or Italic alphabets which appear to have been written with a pen or brush.

calligraphy

A typestyle which is characterized by moderate variations in stroke weight, smoothlyjoined serifs, high contrast, and an almost vertical stress

TRANSITIONAL

TYPOGRAPHY TERMS

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6 Logo Design

✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤

Graphic

Designer madison

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MUSUEM OF MODE RN TYPOGRAPHY THE MUSEUM OF MODERN TYPOGRAPHY

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Los Angeles, California

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Ampersand Design Studio Los Angeles, California

LOS ANGELES, CALIFORNIA

AMPERSAND DESIGN STUDIO

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Character Studies

fonts used: Modern No. 20

Character Study

T

V

he story of U is also the story of our V, W and Y. In fact, the origins of U even have something in common with the F, the sixth letter of our alphabet.

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 It all starts with an Egyptian hieroglyph one that looked like our V) represented that depicted a creature the Egyptians the ‘v’ sound. It wasn’t until relatively called Cerastes (the creature resembled modern times that the angular V was exclusively retained to represent our a giant snake or dragon). This mark represented a consonant sound roughly ‘v’ sound, and the version with the equivalent to that of our F and was, in rounded bottom was left with the turn, the forerunner of the Phoenician single job of representing the vowel ‘u’. “waw.” Certainly the most prolific of the Phoenician letters, the waw ultimately gave birth to our F, U, V, W, As for the graphic form of W, it was created by the Anglo-Saxons, more or and Y. less during the 13th century. Sensibly, Sometime between 900 B.C. and 800 they tried to distinguish among the B.C. the Greeks adopted the Phoenician various sounds represented by the waw. They used it as the basis for not inherited letter when they wrote it one, but two letters in their alphabet: down. So, though they used a V for both the ‘u’ and ‘v’ sounds, they “upsilon,” signifying the vowel ‘u’ wrote the V twice for the ‘w’ sound. sound, and “digamma,” for the ‘f’ Eventually the two Vs were joined to sound. Upsilon was also used by the form a single character, called “wen.”

Etruscans and then the Romans, both for the semiconsonantal ‘w’ sound and This early ligature stuck and became part of the common alphabet rather the vowel ‘u’, but the form of the letter looked more like a Y than either than an accessory. a U or a V. The French, rather than use a foreign letter in their alphabet, preferred to In ancient Rome the sounds of U, V, double one of their own characters. and W, as we currently know them, They chose the U and called the letter were not systematically distinguished.

Context usually determined the correct “double vay.” To the English it became a “double U.” pronunciation. As a result, the Roman sharp-angled monumental capital V was pronounced both as a ‘w’ in words like VENI (pronounced “way-nee”) and as the vowel ‘u’ in words like IVLIUS (pronounced as “Julius”).

And what happened to the Y? After the Roman conquest of Greece in the first century B.C., the Romans began to use some Greek words. They added the Greek Y to the Latin alphabet to accommodate these new additions to their vocabulary. But the sound value given to Y by the Greeks was unknown

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V

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DESIGN

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the museum of modern typograhy presents an exhibit of the creator of the fashion font...

FIRMIN DIDOT

June 21September 18, 2016

DIDOT

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 (17641836). 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.

the museum of modern 221 south grand avenue typography los angeles, CA 90012 WWW.MUSEUMOFMODERNTYPOGRAPHY.COM

Ubiquitous Type: A report on public typography

The presence of typography both good and bad, can be seen everywhere.

By Milton Glaser

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 typographic 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,and free to become more different still, how can one honestly write a rulebook? What reason

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, welltravelled roads at the core of the tradition: paths that each of us is free to follow or not,

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.� 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

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

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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 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 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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18 SKETCH SKETCH BOOK BOOK

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20 NEWS

NEWS

LETTER

LETTER

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Weekly

What’s going on around campus FIDM Visit by Academic Partnerships Representatives from: Laboratory Institute of Merchandising (LIM) in Manhattan, New York on campus Monday April 25, 2016 Regents University (formerly AIU London) in London, England on campus Friday, April 29, 2016.

To Learn more contact Ben Weinberg in room 208A extension: 3405.

Costume Exhibition Closing Soon!

Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30!

Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.

MOTHERʼS 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.

Travel to New York!

Spend your quarter break exploring NYC! Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fidm.edu

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!

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.

WEEK OF APRIL 25-29 Help is Here for the Asking 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.

MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016.

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.

E-Exits are available online at WWW. UASEXIT.COM

Design Studio West Hours M – F 8:30 a.m. – 6:00 p.m.

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.

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.

GUESS? Inc. Sustainable Product Lifecycle Course 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. 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.

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FASHION INSTITUTE OF DESIGN & MERCHANDISING

PORTFOLIO MADISONONGSTAD SPRING 2016