I was introduced to graphic design 6 years ago when I was a freshman in high school. Since then I’ve designed t-shirts for bands, businesses, and non-profit organizations. I find inspiration everywhere, from magazine spreads and book jackets to makeup packaging and tradtional forms of art. You can probably find me reading a book or drinking way too much coffee.
4
Grotesque Distressed
-Is frequently used as a synonym with sans serif. At other times, it is used (along with “Neo-Grotesque”, “Humanist”, “Lineal”, and “Geometric”) to describe a particular style or subset of sans-serif typefaces. The first sans-serif typeface called grotesque was also the first sans-serif typeface containing actual lowercase letters.
Cursive
-Cursive is any style of penmanship in which the symbols of the language are written in a conjoined and/ or flowing manner, generally for the purpose of making writing faster.
-David Carson, the acclaimed graphic designer who created Ray Gun magazine, is the so-called Godfather of Grunge and distressed typography.
Reversed -A lighter typeface on a darker background, such as white text on a black background, is reversed type.
12 pt. Rule Wood Type -In print, the optimal point size for body text is 10–12 point. On the web, the optimal size is 15-25 pixels.
Hairline Rule
-In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths. Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device.
Slab Serif
-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.
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.
-In America, with the expansion of the commercial printing industry in the first years of the 19th century, and someone perfected a process for cheaply producing the large letters. Wood was the logical material because of its lightness, availability, and known printing qualities.
Calligraphy
-Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, dip pen, or brush, among other writing instruments
Transitional
-A Typestyle that combines features of both Old Style and Modern.
Kerning ✤❉■❇❂❁▼
-Adjusting the space between letters so that part of one extends over the body of the next. Kerned letters are common in italic, script, and swash fonts.
-Dingbat is a term used to describe certain fonts that have shapes and symbols in place of what would normally be letters and numbers.
Ligature Tracking
-In writing and typography, a tygographic ligature occurs where two or more graphemes or letters are joined as asingle glyph.
-Used in digital typography to mean overall letterspacing.
S wash Serif
-A capital letter with an ornamental flourish.
D
rop Cap -Display letter that is set next into the text.
•Bullet
-The opening and closing cross-strokes in the letterforms of some typefaces. Sans serif typefaces, as the name imlies, do not have serifs but open and close with no curves and flourishes.
Handlettering -Lettering fonts are often hand drawn, but now with the modern age we use CAD programs such as Adobe Illustrator to convert these drawings into digital pieces.
Oblique °∆◊Glyph◊∆° Display -A typographic element usually used to highlight specific lines of text.
-Roman characters that slant to the right.
-In typography, a glyph is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing.
-Type used to attract attention, usually above 14 pts.
5
6
8
CHARACTOR STUDY | The Letter V The 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. It all starts with an Egyptian hieroglyph that depicted a creature the Egyptians called Cerastes (the creature resembled a giant snake or dragon). This mark represented a consonant sound roughly equivalent to that of our F and was, in turn, the forerunner of the Phoenician “waw.” Certainly the most prolific of the Phoenician letters, the waw ultimately gave birth to our F, U, V, W, and Y. Sometime between 900 B.C. and 800 B.C. the Greeks adopted the Phoenician waw. They used it as the basis for not one, but two letters in their alphabet: “upsilon,” signifying the vowel ‘u’ sound, and “digamma,” for the ‘f’ sound. Upsilon was also used by the Etruscans and then the Romans, both for the semiconsonantal ‘w’ sound and the vowel ‘u’, but the form of the letter looked more like a Y than either a U or a V. In ancient Rome the sounds of U, V, and W, as we currently know them, were not systematically distinguished. Context usually determined the correct 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 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 one that looked like our V) represented the ‘v’ sound. It wasn’t until relatively modern times that the angular V was exclusively retained to represent our ‘v’ sound, and the version with the rounded bottom was left with the single job of representing the vowel ‘u’. As for the graphic form of W, it was created by the Anglo-Saxons, more or less during the 13th century. Sensibly, they tried to distinguish among the various sounds represented by the inherited letter when they wrote it down. So, though they used a V for both the ‘u’ and ‘v’ sounds, they wrote the V twice for the ‘w’ sound. Eventually the two Vs were joined to form a single character, called “wen.” This early ligature stuck and became part of the common alphabet rather than an accessory. The French, rather than use a foreign letter in their alphabet, preferred to double one of their own characters. They chose the U and called the letter “double vay.” To the English it became a “double U.”
10
Avenir, Didot
12
presents an exhibit of the creator of the fashion font
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 twohundred-year journey away from calligraphy. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: Giambattista Bodoni and Firmin Didot. 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.
JUNE 21 - SEPTEMBER 18, 2016
14
“The presence of typography both good good and bad, can be seen everywhere.”
16
Letter “A” sketches
20
{ WEEKLY { what’s happening around campus.
April 25-29
MOTHER’S 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.
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.
COSTUME EXHIBITION
ENDING SOON
Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30! The show features costumes from 23 films, including Star Wars, Cinderella, Crimson Peak, and the Oscar winner for Best Costume Design Mad Max: Fury Road. The Museum is always FREE, and students receive a 20% discount in the Museum Store! Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.
Travel to New York
Spend your quarter break exploring NYC! Sept 25 – Oct 1 meet with FIDM alumni who will share their industry experience. See a Broadway show, shop the stores for the latest trends, and experience the Big Apple! Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fidm.edu
CAREER CENTER
FOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job #65928, and sign up through Career Network.
HELP IS HERE
THE FIDM
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.
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!
FOR THE ASKING
M – Th: 8:00 – 5:00 p.m. F: 8:30 a.m. – 4:00 p.m. 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. 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. Design Studio West Hours M – F 8:30 a.m. – 6:00 p.m.
GUESS? INC. LIFECYCLE COURSE
SUSTAINABLE PRODUCT In partnership with Guess?, Inc. FIDM is developing a sustainability course on “The Sustainable Product Lifecycle”. 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. This 8 week course will start July 2016 and will be held on Wednesdays from 12:00PM-2:45PM. 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.
BOOKSTORE
FIDM V isit by Academic Partnerships (Transfer Schools from New York and London)
Representatives from the Laboratory Institute of Merchandising (LIM) in Manhattan, New York will be on campus Monday April 25, 2016 and from Regents University (formerly AIU London) in London, England will be on campus Friday, April 29, 2016. If you interested in learning more about these transfer options or scheduling an appointment with the representatives from these schools contact Ben Weinberg in room 208A extension: 3405.
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
June 2016 Grads
MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016. E-Exits are available online at WWW. UASEXIT.COM 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.
22
WE E K 1
WEEK 2
WE E K 3
WEEK 4
WE E K 5
WEEK 6
WE E K 7
WEEK 8
WE E K 9