Typographical Portfolio
THE FASHION INSTITUTE OF DESIGN & MERCHANDISNG
g r a p h i c d e s i g n
The Intro
ALIGNMENT
flush left—the text is aligned along the left margin or gutter, also known as left-aligned. flush right—the text is aligned along the right margin or gutter, also known as right-aligned. justified—text is aligned along the left margin, and letter- and word-spacing is adjusted so that the text falls flush with both margins. centered—text is aligned to neither the left nor right margin; there is an even gap on each side of each line.
DISPLAY TYPE
Type set larger than 14 point is usually considered to be “display” type, whether it appears on a billboard or poster, a book jacket or other packaging, or an advertisement in a magazine. Also known as headline type, its objective is to attract and hold a viewer’s attention. Display type can also preview the mood or set the tone of a piece
DROP CAP
A
drop cap is the where the first character of the first paragraph is made larger, taking up several lines of text or the first few sentences. Drop caps are used in various media the used typed text including books, newspaper articles, documents, and webpages. Drop caps are used to add style or grab a reader’s attention.
·BULLET
The bullet symbol may take a such as circular, square, dia processor software offers a w colors. Several regular symb (hyphen), . (period), and eve conventionally used in ASCII environments where bullet ch When writing by hand, bullet Historically, the index symbo pointing index finger) was po
LIGATURE
In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph. The common ampersand (&) developed from a ligature in which the handwritten Latin letters e and t (spelling et, from the Latin for “and”) were combined.
æ
TERMS P ELLIPSIS...
BLACKLETTER
The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering.
An ellipsis is a set of three periods ( . . . ) indicating omission. Each period should have a single space on eit side, except when adjacent to a quotation mark, in wh case there should be no space.
GROTES
Sans Serif (a.k.a. Gothic their first appearances aro by simpler letterforms with weight, lacking significant derlying design. The term as a single word, sansser means without a serif.
T
any of a variety of shapes, amond or arrow. Typical word wide selection of shapes and bols, such as * (asterisk), en o (lowercase O), are I-only text or other haracters are not available. ts may be drawn in any style. ol (representing a hand with a opular for similar uses.
consisting of both letters and numbers and often other symbols (such as punctuation marks and mathematical symbols) an alphanumeric code; also : being a character in an alphanumeric system.
0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ
☺DINGBAT☹
In typography, a dingbat (sometimes more formally known as a printer’s ornament or printer’s character) is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames. The term continues to be used in the computer industry to describe fonts that have symbols and shapes in the positions designated for alphabetical or numeric characters
PROJECT
g an ther hich
ALPHANUMERIC
SLAB SERIF
DISTRESSED
Distressed typefaces cover a lot of ground. Some replicate the irregular contours of brush strokes and other writing implements. Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps.
REVERSED
Reversing type – that is, placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy. A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to “look here” before moving on to the other elements.
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.[1][2] Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century.
SQUE
or Grotesque) type forms made ound 1815-1817. Both are marked h (usually) relatively uniform stroke t contrast, often geometric in unm “sans serif” (sometimes spelled rif or sanserif, which is incorrect!)
OBLIQUE
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted.
Character Studies
A
!
Q Z
& S
CHARACTER STUDIES
N
o 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.
n a m o es R signed for
e face d t. It was Tis aism e p y t x erif ody te ish
t b nd he Bri lity in legibi sioned by t es in 1931 a is comm per The Tim y a e newsp ed by Stanl advisor to iv ic conce , the artist the n o of s y Mori ish branch ompan c t i t r n B e n pm the g equi collaboratio n i t n i r p n t, a type, i Mono ctor Larden Times’ i e with V g artist in th ent. n letteri ing departm used by is r advert h no longe ew g N u Altho es, Times ommon in c im The T is still very inting. r n Roma d general p n a book
CHARACTER STUDIES
Q
or 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 graceful curved shape that cradles the U which usually follows it.
Helvetica
The Helvetica design can be seen virtually everywhere: in print, on the web, in the news and even in the movies (Helvetica, the film, is a must see!). Since its release in 1957, Helvetica has steadily been one of the most popular typefaces. The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue HelveticaŽ font design, which was a re-working of the 1957 original. In addition, Linotype released the Neue Helvetica Pro design in 2004, which is an OpenType version with expanded foreign language support.
CHARACTER STUDIES The ampersand can be traced back to the 1st century A.D. and the Old Roman cursive, in which the letters E and T occasionally were written together to form a ligature. In the later and more flowing New Roman Cursive, ligatures of all kinds were extremely common; from the middle of 4th century are examples of how the et-ligature could look in this script. During the later development of the Latin script leading up to Carolingian minuscule (9th century) the use of ligatures in general diminished. The et-ligature, however, continued to be used and gradually became more stylized and less revealing of its origin. The modern italic type ampersand is a kind of “et” ligature that goes back to the cursive scripts developed during the Renaissance. After the advent of printing in Europe in 1455, printers made extensive use of both the italic and Roman ampersands. Since the ampersand’s roots go back to Roman times, many languages that use a variation of the Latin alphabet make use of it. The ampersand often appeared as a letter at the end of the Latin alphabet, as for example in Byrhtferð’s list of letters from 1011. Similarly, & was regarded as the 27th letter of the English alphabet, as used by children (in the US). An example may be seen in M. B. Moore’s 1863 book The Dixie Primer, for the Little Folks. In her 1859 novel Adam Bede, George Eliot refers to this when she makes Jacob Storey say: “He thought it [Z] had only been put to finish off th’ alphabet like; though ampusand would ha’ done as well, for what he could see.” The popular Apple Pie ABC finishes with the lines “X, Y, Z, and ampersand, All wished for a piece in hand”.
MINION PRO
The inspiration for Slimbach’s design came from late Renaissance period classic typefaces in the old serif style. The Renaissance period was noted for its elegant and attractive typefaces that were also highly readable. The name Minion is derived from the traditional classification and naming of typeface sizes, minion being a size in between brevier and nonpareil. It approximates to a modern 7 point lettering size. The Minion design’s lowercase characters use old-style glyphs in keeping with its Baroque typeface roots. These are most noticeable on the lowercase “g” and “q”. Subtle, but important, details allow the upper and lower case to match well and sit comfortably next to each other. The letter “z” in both cases has the heavy dropped serif and matching line thicknesses. The strokes of the upper and lower case “y”, with its italicized narrowing of the stroke, reinforce the strength of primary stroke.
CHARACTER STUDIES
!
A BRIEF HISTORY OF THE EXCLAMATION POINT Graphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point. The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation” or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment. The exclamation mark did not have its own dedicated key on standard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe. In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as “bang”, perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired,although the nickname probably emerged from letterpress printing. This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.
ARIAL Arial, sometimes marketed or displayed in software as Arial MT, is a sans-serif typeface and set of computer fonts. Fonts from the Arial family are packaged with all versions of Microsoft Windows from Windows 3.1 onwards, some other Microsoft software applications, Apple Mac OS X and many PostScript 3 computer printers. The typeface was designed in 1982 by a 10-person team, led by Robin Nicholas and Patricia Saunders, for Monotype Typography. It was created to be metrically identical to the popular typeface Helvetica, with all character widths identical, so that a document designed in Helvetica could be displayed and printed correctly without having to pay for a Helvetica license. The Arial typeface comprises many styles: Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Extra Bold, Extra Bold Italic, Light, Light Italic, Narrow, Narrow Italic, Narrow Bold, Narrow Bold Italic, Condensed, Light Condensed, Bold Condensed, and Extra Bold Condensed. The extended Arial type family includes more styles: Rounded (Light, Regular, Bold, Extra Bold); Monospaced (Regular, Oblique, Bold, Bold Oblique). Many of these have been issued in multiple font configurations with different degrees of language support. The most widely used and bundled Arial fonts are Arial Regular, Italic, Bold, and Bold Italic; the same styles of Arial Narrow; and Arial Black. More recently, Arial Rounded has also been widely
CHARACTER STUDIES
A
ny 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 sa ga 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. 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.
The inspiration for the typeface Graphik (pronounced “graphic” not “graph-eek”) started with an obsession with Swiss Modernism from graphic designer Christian Schwartz. “Graphik came out of my love of the ‘B-List’ of European sans-serifs like Plak, Neuzeit Grotesk, Folio, and others. These typefaces have a similar style and are of the same era as Helvetica, Univers, or Futura, but they don’t have the baggage associated with them.” Along with the Ohm type family, Graphik is being used as part of the design for the 2017 Typographics design festival, so we asked Schwartz about the history of the design.
CHARACTER STUDIES 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.
TO PA Z
Topaz is an inline face that’s both suave and resolute. “Inlines” are black typefaces with white highlights, and “Outlines” are white typefaces with black borders. The typographic scholar R. S. Hutchings noted that “it is often difficult, if not actually impossible, to distinguish between them.” Topaz is our attempt to further blur the distinction: its sinuous curves and careful asymmetries, together with its off-center highlights, yield a typeface which is simultaneously an inline, and outline, and a dimensional letter.
Elements of Design
M
M P
ARKE
R
M
M
N
A
N
A SS YY
N
A
N
A SS YY R
P
ARKE
R
ARKE
P
R
P
ARKE
g r a p h i c d e s i g n
Poster
ARENQ
POP Project
pop! visual project volume eleven issue one banksy in this issue larry rivers jasper johns shepard fairey andy warhol the weekend
banksy
the weekend
volume eleven shepard fairey
in this issue
pop! larry rivers
visual project jasper johns andy warhol issue one
volume elevenissue onein this issueandy warholvisual projectlarry riversshepard fairey jasper johns the weekend
pop! banksy
in this issue
! p t s o c r e p y j e e v o i r r n r e p a d f y v l n r a r e d l r k u a e l e a s i e p v l s e w m o n h e u e h y l s h n r h s o t o a j k v r n w e e a u y p s b d ajaniss
banksy one johns visual projectissue jasper volume eleven andy warhollarry rivers in this issue the weekendshepard fairey pop! andy warhol
in this issue
pop! pop! volume volume eleven eleven issue issue one one visual visual project project in in this this issue issue shepard shepard fairey fairey andy andy warhol warhol jasper jasper johns johns larry larry rivers rivers the the weekend weekend banksy banksy
visual project
pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!
jasper johns larry riversbanksyshepard fairey
issue one in this issuethe weekend andy warhol volume eleven
visual project issue one banksy in this issue larry rivers shepard fairey andy warhol the weekend
volume pop! jasper johnseleven
visual pop! volume eleven issue one
project banksy
jasper johns larry rivers in this issue the weekend
shepard fairey andy warhol
po jasper johns the weekend in this issue
visual p volume e issue one
andy w
op!
project eleven
warhol
shepard fairey banksy larry rivers
Fonts Used
Helvetica Nue Times New Roman Minion Pro
Graphik Topaz Arial