Ponce, pages port by Randy Dunbar

typography

Portfolio yetzi ponce Graphic Design

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typography create visual concepts, by hand or using computer software, to communicate ideas that inspire, inform, or captivate consumers. it is a way to express oneself about life. â&#x20AC;&#x153;Digital design is like painting, except the paint never dries.â&#x20AC;? -Neville Brody

Table ofcontents

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2. Introduction 4. Table of contents 6. fonts used 8. typographical terms 10. Character studies 22. Logo Designs 24. Obiquitous type 26. sketchbook drawings 30. MMT Poster 32. Pop Project 37. end

fontsused

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aku & kamu Minion Pro Avenir Next Condensed Bondoluo Peek Bodoni 72 Oldstyle Coco Gothic Caslon Antique Felix titling Helvetica Neue Reina 12 Pro Neou Thin

TypographicalTerms Grotesque

In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif fonts tend to have less line width variation than serif fonts. In most print, they are often used for headings rather than for body text. They are often used to convey simplicity and modernity or minimalism.

Display large or eye-catching type used for headings or advertisements.

Hairline Rule The thinnest possible line or space that is visible and the thinnest rule that can be printed, generally considered to be less than one point or 1/72" wide.

Distressted

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.

Calligraphy

Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. A contemporary calligraphic practice can be defined as, "the art of giving form to signs in an expressive, harmonious, and skillful manner".

Cursive

Slab Serif

Serif

Tr a c k i n g

Cursive also known as script or longhand, among other names, is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster.

In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface. A typeface without serifs is called sans-serif or sans serif, from the French sans, meaning "without". Some typography sources refer to sans-serif typefaces as "Grotesque" or "Gothic", and serif typefaces as "Roman".

typography portfolio

& EGYPTIAN

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.

In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning.

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Obliq

Oblique type is a form slightly to the right, us purposes as italic type however, it does not u shapes; it uses the sa type, except slanted. O type are technical term between the two ways font styles; oblique de italic by companies se computer programs.

Kern

In typography, kerning adjusting the spacing b in a proportional font, u visually pleasing result space between individu tracking (letter-spacing uniformly over a range

SWA

A swash is a typographic exaggerated serif, termin etc., on a glyph. The use dates back to at least th they can be seen in Lud Arrighi's La Operina, wh

a ligature oc graphemes single glyph acter ĂŚ as u the letters a

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que

m of type that slants sed for the same e. Unlike italic type, use different glyph ame glyphs as roman Oblique and italic ms to distinguish s of creating slanted esigns may be labelled elling fonts or by

ning

is the process of between characters usually to achieve a t. Kerning adjusts the ual letter forms, while g) adjusts spacing e of characters.

ASH

cal flourish, such as an nal, tail, entry stroke, e of swash characters e 16th century, as ovico Vicentino degli hich is dated 1522.

igature

ccurs where two or more or letters are joined as a h. An example is the charused in English, in which a and e are joined.

Wood Type Geometric Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled.

✌✞❀➣

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.

rop Cap

A drop cap is a decorative element typically used in documents at the start of a section or chapter. It's a large capital letter at the beginning or a paragraph or text block that has the depth of two or more lines of normal text. Drop caps are easy to apply in Word.

blackletter Blackletter, also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. It continued to be used for the Danish language until 1875, and was used for the German language until the 20th century.

The repetition of simple geometric shapes forms a daily part of our environment. Throughout the 20th century and into the 21st typefaces whose designs have taken advantage of this have remained popular. But finding exactly the right mood can be tricky. For your convenience, we have grouped some of our favorite geometric typefaces into four categories: circles, squares, ovals, and triangles.

Didone

Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: Narrow and unbracketed hairline serifs. The serifs have a constant width along their length. Vertical orientation of weight axes. The vertical strokes of letters are thick. Strong contrast between thick and thin lines. Horizontal parts of letters are thin in comparison to the vertical parts. Some stroke endings show ball terminals. Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif. An unornamented, "modern" appearance.

DECORATIVE Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type.

Reversed

Reverse type, reverse text Type that is. printed white on black, or light-colored against a dark background. Roman The upright style of a typeface, as. contrasted with its italic version.

CharacterSTUDIES

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character studies THE LETTER A

character studies THE LETTER G

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.

About bodoni 72 oldstyle

The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’.

Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1][2] Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.

THE FONT MINION

Minion is a serif typeface designed by Robert Slimbach in 1990 for Adobe Systems and inspired by late Renaissance-era type. The name comes from the traditional naming system for type sizes, in which minion is between nonpareil and brevier, with the type body 7pt in height.

The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today. The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language. The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter. There are 25 more stories.

character studies

THE LETTER O

ABOUT COCO GOTHIC

oco Gothic is a contemporary take on the retro geometric sans serif style of early XX century typefaces like Futura and Avant garde. The cold, geometric shapes typical of those modernism typefaces have been made softer and more contemporary by visual corrections and slightly rounded corners and a minimalistic design feel. The name of the typeface family comes from the nickname of fashion beloved icon Coco Chanel.

Y TOR HIS

OF THE L ET TE

Ssymbol; others vote for an even more ancient Egyptian

ome believe that our present O evolved from a Phoenician

heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the Alphabet was Made” recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds. After finishing the A and Y, the child, Taffy, asks her father to make another sound that she can translate into a picture. The father’s sketch of the first O would serve perfectly well today, since round remains the defining property of the letter. Actually, the O did start out as a drawing of something, but not an egg or a stone, or even a mouth. 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” appears among the Phoenician and other Semitic languages around 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. 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.

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 ampersand should not be confused with which is a symbol similar to the numeral 7. Both symbols have their roots in the classical antiquity, and both signs were used up through the Middle Ages as a representation for the Latin word “et” (“and”). However, while the ampersand was in origin a common ligature in the everyday script, the Tironian “et” was part of a highly specialised stenographic shorthand.[13] The Tironian “et” is found in old Irish language script, a Latin-based script generally only used for decorative purposes today, where it signifies agus (“and”) in Irish. This symbol may have entered the script language by way of monastic influence in the time of the early Christian church in Ireland.

The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered superfluous for the writing of Latin. The ousted Z took its place at the end of the line.

THE HISTORY OF THE LETTER 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.

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

About Felix titling the end of the Latin alphabet, as for example in Byrhtferð’s list of letters from 1011.[10] Similarly, & was regarded as the 27th letter of the English alphabet, as used by children. An example may be seen in M. B. Moore’s 1863 book The Dixie Primer, for the Little Folks.[11] 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”.

The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At various times in ancient Greek history, the gamma looked like a one-sided arrow pointing up, an

The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds. The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’

character studies THE LETTER W

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.

the History About Ampersand

Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upside-down V looked like the hump of a camel.

upside-down L, or a crescent moon. Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians.

character studies THE CHARACTER &

The

Historically, a “titling font” was a font of metal type designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes. They often have a more pronounced weight contrast (resulting in thinner thins), tighter spacing, and more condensed proportions than their text-sized cousins. Titling fonts may also have distinctive refinements that enhance their elegance and impact. Titling fonts are most often all-cap, single-weight variants created to complement text families, such as the titling fonts designed as part of the Dante, Plantin, Bembo, Adobe Garamond Pro, and ITC Golden Cockerel typeface families.

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.”

About

Caslon Antique Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play, and the 1985 reboot of the TV series The Twilight Zone. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope.

character studies THE LETTER A

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. The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’. The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today. The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language. The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter. There are 25 more stories.

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THE FONT MINION

character studies THE LETTER G

About bodoni 72 oldstyle

Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1][2] Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, a found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had long career and his designs changed and varied ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. typography portfolio

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as d

k a d,

Generally speaking, there are no launch dates for the letters of our alphabet. For the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C. Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upside-down V looked like the hump of a camel. The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At various times in ancient Greek history, the gamma looked like a one-sided arrow pointing up, an

upside-down L, or a crescent moon. Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians. The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds. The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’ The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered superfluous for the writing of Latin. The ousted Z took its place at the end of the line.

character studies

THE LETTER O

ABOUT COCO GOTHIC

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OF THE L Y R O E T TT S I ER H S

ome believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the Alphabet was Made” recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds. After finishing the A and Y, the child, Taffy, asks her father to make another sound that she can translate into a picture. The father’s sketch of the first O would serve perfectly well today, since round remains the defining property of the letter. Actually, the O did start out as a drawing of something, but not an egg or a stone, or even a mouth. 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” appears among the Phoenician and other Semitic languages around 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. 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.

character studies THE LETTER W

THE HISTORY O 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

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OF THE LETTER

About

Caslon Antique Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les MisĂŠrables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play, and the 1985 reboot of the TV series The Twilight Zone. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope.

character studies THE CHARACTER &

the History About Ampersand The

the end of the Latin alphabet, as for example in Byrhtferð’s list of letters from 1011.[10] Similarly, & was regarded as the 27th letter of the English alphabet, as used by children. An example may be seen in M. B. Moore’s 1863 book The Dixie Primer, for the Little Folks.[11] 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”.

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; figures 2 and 3 from the middle of 4th century are examples of how the etligature 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

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t e

About Felix titling Historically, a â&#x20AC;&#x153;titling fontâ&#x20AC;? was a font of metal type designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes. They often have a more pronounced weight contrast (resulting in thinner thins), tighter spacing, and more condensed proportions than their text-sized cousins. Titling fonts may also have distinctive refinements that enhance their elegance and impact. Titling fonts are most often all-cap, single-weight variants created to complement text families, such as the titling fonts designed as part of the Dante, Plantin, Bembo, Adobe Garamond Pro, and ITC Golden Cockerel typeface families.

LOGODESIGN typography portfolio

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yp It m is a ma visible too from othe This book typo-grap letters: in and in pa ethics tha a set of de ancient vo forms. One ques thinking h are strugg remembe and wom be differe become m still, how write a ru reason an for these like other Typograph there are new route country a the silenc but the ol us is free know the denied us but much overgrow you wish.

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UBIQUITOUSTYPE

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

pography makes at least two kinds of sense, if it makes any sense at all. makes visual sense and historical sense. The visual side of typography always on display, and materials for the study of its visual form are any and widespread. The history of letterforms and their usage is o, to those with access to manuscripts, inscriptions and old books, but ers it is largely hidden. k has therefore grown into some-thing more than a short manual of phic etiquette. It is the fruit of a lot of long walks in the wilderness of n part a pocket field guide to the living wonders that are found there, art a meditation on the ecological principles, survival techniques, and at apply. The principles of typography as I understand them are not ead conventions but the tribal customs of the magic forest, where oices speak from all directions and new ones move to unremembered

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 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 stion, nevertheless, has been often in my mind. When all rightinvisible but no less real, no less demanding, no less sensuous anatomy of the human beings human mind. I donâ&#x20AC;&#x2122;t like gling to to call these principles TYPOGRAPHY IS THE CRAFT OF ENDOWING er that other men universals, because HUMAN LANGUAGE WITH A DURABLE men are free to they are largely unique ent,6and free to to our species. Dogs VISUAL FORM,AND THUS WITH AN more different and ants, for example, INDEPENDENT EXISTENCE. can one honestly read and write by more ulebook? What chemical means. But the nd authority exist underlying principles of commandments, suggestions, and instructions? Surely typographers, typography are, at any rate, stable enough to weather any number of human rs, ought to be at liberty to follow or to blaze the trails they choose. fashions and fads. hy thrives as a shared concern - and there are no paths at all where Typography is the craft of endowing human language with a durable visual no shared desires and directions. A typographer determined to forge form, and thus with an independent existence. Its heartwood is calligraphy es must move, like other solitary travellers, through uninhabited the dance, on a tiny stage, of It is true that typographerâ&#x20AC;&#x2122;s tools are presently nd against the grain of the land, crossing common thoroughfares in changing with considerable force and speed, but this is not a manual in the use ce before dawn. The subject of this book is not typographic solitude, of any particular typesetting system or medium. I suppose that most readers ld, well- travelled roads at the core of the tradition: paths that each of of this book will set most of their type in digital form, using computers, but I to follow or not, and to enter and leave when we choose - if only we have no preconceptions about which brands of computers, or which versions of paths are there and have a sense of where they lead.That freedom is which proprietary software, they may use. The essential elements of style have s if the tradition is concealed or left for dead. Originality is everywhere, more to do with the goals the living, speaking hand - and its roots reach into h originality is blocked if the way back to earlier discoveries is cut or living soil, though its branches may be hung each year with new machines. wn. If you use this book as a guide, by all means leave the road when So long as the root lives, typography remains a source of true delight, true . That is pre- cisely the use of a road: to reach individu- ally chosen knowledge, true surprise.

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