typography Final

ypography

Portfolio Winter 2019

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FIDM Fashion Institute of Design & Merchandising Graphic design

Emmes(Yiting) Luo

Table of Contents Logo Intro

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4

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Character Studies

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Sketches

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Typographical Terms

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s Logo Development Typographer + Museum Report Ubiquitous Type Layout

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22 26 40

Pop! Project

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Fonts

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Logo

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Intro

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M st at An it re to gi de of of an m in le Th te th

My name is Yiting Luo, English name is Emmes. I am a international tudent from China. This is my first year graphic design student ttending FIDM/Fashion Institute of Design & Merchandising in Los ngeles. The best thing about graphic design is the opportunity gives me to express and explore my own ideas. There are no estrictions on my imagination, it’s a topic that allows me the freedom o experiment and grow as a designer, with each experience i have iving me a better understanding of visual communication and the esign process. Typography is the art of manipulating the visual form f language to enrich and control its meaning. its an essential area f skill and knowledge for graphic designers. To me, typography is n incredible way to express yourself. You can achieve an entire mood with the use of one perfect font. Typography allows us to nspire others by stringing together the perfect combination of etters and colors to create a beautiful and stimulating work of art. his course has emphasized the importance of the little details we ent to overlook as young artists, and i feel that I’ve learned a lot hat i will take with me throughout my career as a graphic designer.

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Character Stud

Exclamation marks were originally called They are still, to this day, used to express used to express surprise, astonishment, o emotion. Any exclamatory sentence can exclamation mark, to add additional emp excited!" convey a lot more "I am excited

They are commonly used after interjectio are used to exclaim, command or protest such as oh, wow, and boy.

For example, "Wow! This grammar stuff is learned it before. Oh! That's right, I did."

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When used in a quote, exclamation marks quotation marks: Joe said, "I like pizza a

dies

d the "note of admiration." s excitement. They are also or any other such strong be properly followed by an phasis. After all, doesn't "I am d."

ons (words or phrases that t). Interjections include terms

s interesting. Boy! I wish I'd

s should be inside the lot!"

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Character Stud Character Studies

D

o you want a jelly baby?

Don't be sad Grace. You'll do great things. Jamie, remind me to give you a lesson in tying knots, sometime. This

thing is smaller on the inside than it is on the outside. Life depends on change and renewal.

My ship…my TARDIS… Oh my word! Dreams are important…never underestimate them. I am the Doctor! The original, you might say! Oh I'm so sorry, Jamie. Would you like a jelly baby?

Goodbye... Fancypants! I don't like it. Courage isn’t a matter of not being frightened, it’s being afraid and doing what you have to do anyway.

Do you want a jelly baby? Don’t be sad Grace.

You’ll do great things. Jamie, remind me to give you a lesson in tying knots, sometime. This thing is smaller on the inside than it is on the outside. Life depends on change and renewal.

My ship…my TARDIS… Oh my word! Dreams are important…never underestimate them. I am the Doctor! The original, you might say! Oh I’m so sorry, Jamie. Would you like a jelly baby?

Goodbye... Fancypants! I don’t like it. Courage isn’t a matter of not being frightened, it’s being afraid and doing what you have to do anyway.

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EVOLUTION OF THE A

dies About this front CASLON William Caslon (1693 – 23 January 1766), also known as William Caslon I, was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder's tool cutter. Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day in England and on the continent.

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Character Stud Character Studies

D

o you want a jelly baby?

Don't be sad Grace. You'll do great things. Jamie, remind me to give you a lesson in tying knots, sometime. This

thing is smaller on the inside than it is on the outside. Life depends on change and renewal.

My ship…my TARDIS… Oh my word! Dreams are important…never underestimate them. I am the Doctor! The original, you might say! Oh I'm so sorry, Jamie. Would you like a jelly baby?

Goodbye... Fancypants! I don't like it. Courage isn’t a matter of not being frightened, it’s being afraid and doing what you have to do anyway.

Do you want a jelly baby? Don’t be sad Grace.

You’ll do great things. Jamie, remind me to give you a lesson in tying knots, sometime. This thing is smaller on the inside than it is on the outside. Life depends on change and renewal.

My ship…my TARDIS… Oh my word! Dreams are important…never underestimate them. I am the Doctor! The original, you might say! Oh I’m so sorry, Jamie. Would you like a jelly baby?

Goodbye... Fancypants! I don’t like it. Courage isn’t a matter of not being frightened, it’s being afraid and doing what you have to do anyway.

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dies

About this front CASLON William Caslon (1693 – 23 January 1766), also known as William Caslon I, was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder's tool cutter.

Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day in England and on the continent.

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Character Stud Character Studies

D

o you want a jelly baby?

Don't be sad Grace. You'll do great things. Jamie, remind me to give you a lesson in tying knots, sometime. This

thing is smaller on the inside than it is on the outside. Life depends on change and renewal.

My ship…my TARDIS… Oh my word! Dreams are important…never underestimate them. I am the Doctor! The original, you might say! Oh I'm so sorry, Jamie. Would you like a jelly baby?

Goodbye... Fancypants! I don't like it. Courage isn’t a matter of not being frightened, it’s being afraid and doing what you have to do anyway.

Do you want a jelly baby? Don’t be sad Grace.

You’ll do great things. Jamie, remind me to give you a lesson in tying knots, sometime. This thing is smaller on the inside than it is on the outside. Life depends on change and renewal.

My ship…my TARDIS… Oh my word! Dreams are important…never underestimate them. I am the Doctor! The original, you might say! Oh I’m so sorry, Jamie. Would you like a jelly baby?

Goodbye... Fancypants! I don’t like it. Courage isn’t a matter of not being frightened, it’s being afraid and doing what you have to do anyway.

14

dies

William Caslon (1693 – 23 January 1766), also known as William Caslon I, was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder's tool cutter.

Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day in England and on the continent.

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Sketches

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Sketches

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Typographical Terms

DISTRESSED

REVERSED

BLACKLETTER

Blackletter (sometimes black letter), 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 for German and Latvian until the 20th century. Fraktur is a notable script of this type, and sometimes the entire group of blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes referred to as Old English, but it is not to be confused with the Old English language (or Anglo-Saxon), which predates blackletter by many centuries and was written in the insular script or in Futhorc.

HAIRLINE RULE

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A thin typographic line.

Also describes a very thin serif, as in hairline serif, or the thinnest line that can be printed, as in hairline rule.

In a typeface that has a high degree of contrast between the thicknesses of strokes, such as Bodoni, hairline also refers to the thinnest stroke of a letter.

When using a highresolution PostScript device, such as an imagesetter or platesetter for final output to a press, the smallest line that will be visible without breaking up, is between 0.3 to 0.5 points.

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CURSIVE Cursive (also known as script or longhand, among other names[a]) 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. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts.

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.

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.

Type

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AMPERSAND

The typographic symbol used to designate the word and (& ) is the Latin symbol for et which means and.

The name, ampersand , is believed to be derived from the phrase “and per se and.”

On a standard English layout keyboard the ampersand (&) is accessed with shift+7.

DROP CAP

I

n a published work,an initial or drop cap is a letter at the beginning of a word, a chapter, or a paragraph that is larger than the rest of the text.

The word is derived from the Latin initialis, which means standing at the beginning. An initial is often several lines in height and in older books or manuscripts, sometimes ornately decorated.

RAISED CAP The oldest initial form is the drop cap. Here the initial letter is set down within the copy, not rising above the top line of text. The other style is a raised initial.

Raised Caps are simply larger letters at the start of the paragraph.

SERIF TRACKING

In typography, letterspacing, also referred to as tracking by typographers working with pre-WYSIWYG digital systems, refers to an optically consistent degree of increase2 (or sometimes decrease) of space between letters to affect visual density in a line or block of text.

In typography, a serif is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or “font family” making use of serifs is called a serif typeface (or serifed typeface), and a typeface that does not include them is a sans-serif one.

l Terms FRACTION

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”.

Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.

Classical calligraphy differs from typography and nonclassical hand-lettering, though a calligrapher may practice both.

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.

Also referred to as display type, decorative fonts are typically used for titles and headlines and for small amounts of text in large sizes such as in greeting cards or posters. Some decorative type is hand drawn or may be created from digital type that has been manipulated in a font editor or graphics program to suit a specific purpose such as a newsletter nameplate or a logo.

DIDONE WOOD TYPE Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. 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.

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Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of generalpurpose printing during the nineteenth.It is characterized by: • Narrow and unbracketed (hairline) serifs. (The serifs have a nearly 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.) An unornamented, “modern” appearance.

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. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century.

Slab serifs form a large and varied genre. Some such as Memphis and Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs.

LIGATURE Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature. Other ligatures are primarily to make type more attractive on the page such as the fl and fi ligatures. In most cases, a ligature is only available in extended characters sets or special expert sets of fonts.

Fractions can be a regularly occurring element in text.

They are routinely used in text for measurements and dimensions, recipes, math and science notation, as well as in manuals and other technical documentation.

Fractions can be represented in several ways: spelled out, using decimals, by diagonal or slashed fractions, by stacked or nut fractions, or by horizontal fractions.

DISPLAY TYPE A display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text.

Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text. They may take inspiration from other genres of lettering, such as handpainted signs, calligraphy or an aesthetic appropriate to their use, perhaps ornamented, exotic, abstracted or drawn in the style of a different writing system.

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 (similar to box-drawing characters). 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.

Illustrated

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Emmes (Yiting) Luo

Logo Developm

Yiting Luo

Yiting Luo

San Serif

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Serif

Egyp

ment Yiting Luo Yiting Luo

ptian

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Hand Written

MOCT Logo De

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evelopment

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Typographer + Museum Report

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the MCT presents the work of

Wes Wilson PSYCHELDELIC TYPE AT ITS BEST

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MOCT Museum of Contemporary Typograph

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About the Museum 37

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Ubiquitous T

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