PORTF O L i O Just in Po rt er
3
Introduction
6
Character Studies
14
Sketches
18
Logo Development
20
Typographer + Museum Report
32
Ubiquitous Type
34
POP Project
Intro: B
orn in Reno, NV, and later re-established in Los Angeles. I attended Mount San Antonio College to achieve my associates in Animation. I later decided that the animation bussiness wasnt for me. After figuring out such information I began to pick up a digital camera and havent put it down sense. I am currently attending the Fashion Insitute Of Design and Merchadising to obtain my bachilors degree in Digital Media. From there I would like to take my degree and travel overseas to explore new oppurtunity and see what life has in store in me.
Character Studies
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A
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.
Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter 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.
Character Studies
Z
The Letter Z T
he 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).
Z History Of Bradley Hand :
A self-taught artist, British designer Richard Bradley has defined a career in freelance design with a niche focus on Christian literature. His typeface designs have a calligraphic or handwritten style, including the Bible Script™ font family and the Fine Hand™ font family. Bradley Hand ITC was developed in collaboration with Bradley’s fellow British designer, Colin Brignall. The original focus of the project was to develop a typeface specifically for dry transfer lettering; it was eventually developed for use in digital display, as well. It is based directly on Richard Bradley’s own handwriting and has a much more casual feel than many of his calligraphy-based designs. It gives the impression of a personal, handwritten note and brings a human touch to digital correspondence. It was later enhanced and refined for improved digital display in the ITC Bradley Type™ font family.
Character Studies
PUNCTUATION T
imothy Dexter was a prominent citizen of eighteenth century New England, a businessman and sometime writer with a reputation as an eccentric. Dexter’s best-known book, A Pickle for the Knowing Ones, was remarkable only for its complete lack of punctuation. To its second edition Dexter added a page filled with periods, commas, semicolons and other punctuation marks, so that readers could, according to Dexter, “pepper and salt it as they please.” While to us it may seem that Dexter’s disregard for proper punctuation was one of his idiosyncrasies, this casual approach is absolutely in keeping with the heritage of our written language. The earliest hieroglyphic and alphabetic inscriptions had no punctuation symbols at all: no commas to indicate pauses, no periods between sentences. In fact, there weren’t even spaces between words. Nor did the early Greek and Roman writers use any form of punctuation.
History of Gill Sans The successful Gill Sans was issued by Monotype in 1928 to 1930. The roots of Gill Sans can be traced to the typeface that Gill’s teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill´s alphabet is more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography.
SKETCHES
TYPOGRAPHER + MUSEUM REPORT
TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY
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THE MUSEUM OF CONTEMORARY TYPOGRAPHY PRESENTS THE WORK OF
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MORRIS FULLER BENTON
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Morris Fuller Benton – type designer, born 30. 11. 1872 in Milwaukee, USA, died 30. 6. 1948 in Morristown, USA Benton is credited as America’s most prolific designer of metal type, having (with his team) completed 221 typefaces, including revivals of historical models, like Bodoni and Cloister; original designs, such as Hobo, Bank Gothic, and Broadway; and adding new weights to existing faces, such as Century, Goudy Old Style and Cheltenham. Although he did not invent the concept, Benton working at ATF pioneered the concept of families of typeface designs, allowing consistency of appearance in different sizes, widths and weights.[5] This allowed ATF to capitalise on a successful typeface’s popularity and facilitated coherent layout and graphic design; its 1923 specimen book described its approach of creating families which could allow advertisers
to “talk at command with varying emphasis and orchestral power [rather than using] a medley of display types.”[6] Benton worked as the team leader of designers responsible for creating a basic design and then adapting it to different sizes and weights. He considered his work as a designer important and wrote a brief list of typefaces he considered his most important work in 1936, shortly before his retirement.[7][8] Benton was relatively retiring in life: a 1936 interview described him as “one of the most difficult men to interview I have ever talked to...try to pin some honour on him, or give him credit for some achievement, and he will modestly sidestep with the remark that ‘Lady Luck helped me a lot there!’”[1]
BROADWAY
ABCDEFGHIJKLMNOPQRSTUVWXYZ First released in 1929, Broadway exudes the atmosphere of the Roaring Twenties. Thick black strokes on the left half of characters such as the ‘B’ and ‘O’ make the letterforms abstract and ornamental. Where thick and thin strokes meet, the letterforms feature angles rather than curves, similar to the way Art Deco treats natural forms. Broadway is ideal for the design of decorative posters and display material. With no descenders in the lowercase letterforms, Broadway accepts bold underlining without the usual trouble of disappearing descenders. In addition, due to its high contrast, Broadway remains visible on backgrounds of similar density, making it ideal for colorful work. For example, green lettering on a blue background would be difficult to read if the font were Arial, but the same colors would be easier to read with the text in Broadway.
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TYPO GRA PHY BA NK GOTHIC
Each Bank Gothic is a rectilinear geometric sans-serif typeface designed by Morris Fuller Benton for the American Type Founders in 1930. The typeface is an exploration of geometric forms, and is contemporary with the rectilinear slab serif typeface City by Georg Trump. The typeface also bears comparison with late-nineteenth-century engraving faces. In the 1980s, Mergenthaler Linotype Company created a digital version that includes small caps characters to map onto the lowercase keys of the keyboard. At the time, Linotype only digitized the medium weight of the family, and no PostScript version has been made.
A TYPOGRAPHICAL INTRODUCTION
B
1400
Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.
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1470
Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.
a C
1501
Italics begin to be used as way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing.
1734
William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.
B D H
1 7 5 7
1 7 8 0
John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.
Firmin Didot and Giambattista Bodoni created the first ‘modern’ Roman typefaces (Didot, and Bodoni). The contrasts were more extreme than ever before, and created a very cool, fresh look.
1815
Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.
A G a m
1 8 1 6
William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces. During this time, type exploded, and many, many variations were being created to accommodate advertising.
1 9 2 0 ‘ s
Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.
1 9 5 7
Contemporary
Swiss designer Max Miedinger created Helvetica, the most loved typeface of our time. This was a return to minimalism, and many other simplistic typefaces such as Futura surfaced around this time period.
With the internet, we have such a vast variety of old and new typefaces available for us to peruse and use. All these typefaces give us an abundance of options and looks for our designs today, and we’re not limited by just one or two typefaces like we would have been a few hundred years ago.
Type is everywhere – street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place. TERMINOLOGY EXPLAINED What’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used. Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font. Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:
ABOUT THE MUSEUM
The Broad is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The Broad is home to more than 2,000 works of art in the Broad collection, which is one of the world's most prominent collections of postwar and contemporary art. The 120,000-square-foot building features two floors of gallery space and is the headquarters of The Broad Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The Broad has welcomed more than 2.5 million visitors. Generous support is provided by Leading Partner East West Bank.
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 something 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 right-thinking 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 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 precisely the use of a road: to reach individually 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
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�
The presence of typography both good and bad, can be seen everywhere.
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
by Milton Glazer
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.
POP!
POP!
POP! P POP! POP! POP! POP! P POP! POP! POP! POP! POP! POP! POP! POP! POP!
POP!
POP! POP! POP! POP! POP! ! POP! POP! POP! POP! !
POP! POP! POP! POP! !
WEEK 1
frida kahlo
paganini drake pete wentz john philip sousa
lil peep andy warhol
WEEK 7
frida kahlo drake
andy warhol
pete wentz
lil peep
john philip sousa
paganini
paganini
andy warhol
john philip sousa
drake
lil peep
frida kahlo
pete wentz
WEEK 9
frida kahlo frida kahlo frida kahlo frida kahlo
drake drake drake
paganini paganini paganini paganini
drake pete wentz pete wentz john philip sousa john philip sousa john philip sousa john philip sousa
pete wentz pete wentz
lil peep lil peep lil peep lil peep andy warhol andy warhol andy warhol andy warhol
FONTS :
FRANKLIN GOTHIC BANK GOTHIC BUREAU AGENCY HELVETICA BROADWAY GILL SANS BRADLEY HAND