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FIDM 2018

portfolio. typographical

an exporlation of the history, usage, & terminology of typography in Graphic Arts.

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intoduction Carly Quick is an aspiring Graphic D e s i g n e r a t T h e Fa h s i o n Institue of Design & Merchandising. After her studies, she hopes to become a creative director for a disired c o m p a n y. T h e f o l l o w i n g portfolio will exibit her journey through e v e r y t h i n g t y p o g r a p h y.

table of contents

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a q & ! s z

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week two week three week four week five week six week seven week eight week nine

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fonts 6

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Aire Pro Butler Times New Roman Baskerville Geogia Bodoni Graphik Phosphate

terms typographical

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Alignment

Ligature

fl

Bullet

Alignment refers to placing text and other design elements on a page so they line up. It helps to create order, organize your elements, create visual connections, and improve the readability of your design.

In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph.

A dot or other character that is placed at the left of items in a list, to show that they are individual, but related points.

Dingbat

Alphanumeric

Display Type

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.

Drop Cap

D

rop cap is a large capital letter at the beginning of a text block that has the depth of two or more lines of regular text.

Alphanumeric simply refers to the type of Latin and Arabic characters representing the numbers 0 - 9, the letters A - Z (both uppercase and lowercase), and some common symbols such as @ # * and &.

Ellipsis...

Grotesque is used as a synonym for sans serif fonts in general. More specifically, grotesque refers to the set of sans serif fonts produced around 1815.

Blackletter

An ellipsis is a series of dots that usually indicates an intentional omission of a word, sentence, or whole section from a text without altering its original meaning.

Grotesque

Display type is the decorative and/or big type utilized as visual elements or headlines in shown pieces. Usual sizes of display types include: 14, 18, 24, 30, 36, 48, 60, and 72 point.

Also called Gothic script or Old English script, in calligraphy, is a style of alphabet that was used for manuscript books and documents throughout Europe from the end of the 12th century to the 20th century.

Slab Serif

Oblique

A slab serif, also called mechanistic, square serif, antique or Egyptian, typeface is a type of serif typeface characterized by thick, block-like serifs.

Reversed Reversed type is when type is reversed out of a background, the background is printed in a dark color while the type is not printed at all—it is the color of the paper.

Oblique type includes characters that slant to the right.

Sans serif typefaces frequently contain oblique rather than true italics. True italics are regarded as a different font.

DISTRESSED Distressed typeface is used to convey a feeling of distress to the viewer. In distressing, the types finish is intentionally destroyed or manipulated to look less than perfect.

c h a r a c t e r

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character studies

N

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.

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Times Roman Stanley Morison, typographic advisor to Monotype, was also made typographic advisor to The Times of London newspaper in 1929.

One of his first responsibilities in the latter position was to redesign the newspaper. Several existing typestyles were tried as replacements for the typeface the newspaper had been using for years; but Morison and The Times executive staff found them unsuitable for one reason or another.

The decision was then made to create a new, custom, design.

character studies

q

For 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.

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Bakersville 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 oldstyle typefaces of the period, especially those of his most eminent contemporary, William Caslon.

Compared to earlier designs, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position.The curved strokes are more circular in shape, and the characters became more regular.

character studies

&

Rooted in the Latin “et” (meaning “and”), the ampersand is a ligature composed from the letters “e” and “t”. The word “ampersand” itself is an alteration of “et per se and,” which became corrupted to “and per se and”, and finally “ampersand.” The history of the ampersand dates back to 63 B.C.E., and was a commonly used character during the Incunabula.

For example, a single page from a book printed by Aldus Manutius in 1499, has over twenty-five ampersands!

Today, however, the ampersand has relatively limited uses. The Chicago Manual of Style doesn’t even address ampersands, except to say that it’s OK to spell them out at your own discretion, and the Associated Press Stylebook explicitly bans the ampersand from anything but a proper name or an abbreviation like “B&B” for “bed and breakfast.”

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Georgia

Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It was intended as a serif font that would appear elegant but legible printed small or on low-resolution screens. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft; this would be released under the name Miller the following year.[1] The typeface’s name referred to a tabloid headline claiming “Alien heads found in Georgia.”

character studies

!

A Breif 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”[3] or the “note of admiration” until the mid-17th century;[4] 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,[8] although the nickname probably emerged from letterpress printing.[9] This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.

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Bodoni: Modern

The Bodoni™ font is a well-known serif typeface series that has had a long history of interpretations by many design houses. The various font styles begin with Bodoni’s original Didone modern font in the late 1700s through to ATF’s American Revival in the early 1900s and into the digital age.

The original design had a bold look with contrasting strokes and an upper case that was a bit more condensed then its stylish influence Baskerville®. The unbracketed serifs and even geometric styling has made this a popular font seen in almost every kind of typesetting situation, but particularly well suited for title fonts and logos.

character studies

s

Any 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 saga 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.

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S

S

Font:

Graphik

Originally released in 2009, Graphik has quickly become a modern classic. With a rational grid comprised of nine weights in seven different widths, the Graphik Collection is created for maximum flexibility in communication. Inspiration for Graphik came from designer Christian Schwartz’s enduring interest in the expressive possibilities found in ordinary sans serif typefaces. This stems from his early exposure to Modernist graphic design, particularly posters, from the mid-twentieth century. The purposeful, elegant plainness and wide range of widths allow the Graphik collection to move effortlessly between being a central design element or playing a supporting role in editorial design, corporate branding, video and broadcast design, websites, apps, and user interfaces.

character studies

z

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).

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Font:

INLINE It’s looking to be the hottest trend to hit web design since large text: inline typefaces are the perfect marriage of character and clarity.Perfect for flat design, inline typefaces create texture without using bevels or drop shadows.

Typically they have hairline strokes inside the thicker bold strokes; this gives them a bold, chunky legibility, coupled with a delicate touch. Display type needs to stand out from body type, especially when set over large images, and inline typefaces provide that texture in a clean way. They’ve been around for centuries, but it’s only recently that their potential for websites has begun to be picked up.

pop! week one

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volume eleven issue one visual project pop!

larry rivers the weekend shepard fairey jasper johns banksy andy warhol

in this issue

pop! week two

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pop!

visual project

issue one banksy

the weekend

volume eleven

in this issue

jasper johns

andy warhol

shepard fairey

larry rivers

pop! week three

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visual project issue one volume eleven

pop!

larry rivers the weekend jasper johns shepard fairey banksy andy warhol

in this issue

pop! week four

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in this issue

larry rivers jasper johns

banksy the weekend shepard fairey

andy warhol visual project pop!

issue one volume eleven

pop! week five

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shepard fairey

visual project

pop! issue one

volume eleven

larry rivers

the weekend

banksy

jasper johns

andy warhol

in this issue

pop! week six

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in this issue shepardjasper faireyjohns

banksy larry rivers andy warhol the weekend

issue one visual project volume eleven

pop!

pop! week seven

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pop! pop! pop! volume eleven volume eleven volume eleven volume eleven volume eleven volume eleven issue one issue one issue one issue one issue one issue one

visual project visual project visual project in this issue in this issue in this issue jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns

banksy andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers

shepard fairey shepard fairey shepard fairey shepard fairey shepard fairey shepard fairey shepard fairey shepard fairey shepard fairey shepard fairey

the weekend the weekend the weekend the weekend the weekend the weekend the weekend

pop! week eight

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pop! issue one one issue

visual visual project project

volume volume eleven eleven

in in this this issue issue

andy warhol warhol andy

theshepard weekend the weekend fairey larryrivers rivers larry larry rivers

jasper johns johns jasper jasper johns

banksy banksy

pop! week nine

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pop! visual project issue one

volume eleven in this issue

andythe warhol weekend

banksy larryjasper rivers johns shepard fairey

Ubiquitous Type

By Carly Quick

The presence of typogrpahy is EVERYWHERE

L

ike any other creative pursuit, the design of letterforms is determined by the prevailing cultural climate and thus in a state of constant flux. Typography now functions as a kind of weathervane for the zeitgeist, with typographic analysis a leading design issue. Indeed, as designers have sought to express themselves and define their time, type has increasingly come to have its own intentions, beyond those of verbal communication.

From its first printed appearance in the West, type drew on existing forms, with the results then impacting on future designs. The letters printed in Renaissance Europe by Johann Gutenberg were a direct interpretation of the ornate gothic handwriting of the day; black-letter, in movable, reusable hot metal. Black-letter would also influence the first italic type cut by Francesco Griffo, which was largely informed by 16th century Italian handwriting. But it was the renewed interest in classic Greco-Roman culture, rather than technological development, that would see our standard roman alphabet find its definitive printed expression.

The early Humanist faces derived their majuscules from stone-carved Roman capital letters (hence the serifs) while their minuscules were adapted from the formal calligraphy of scribes. The more successful types revealed an ability to differentiate the written from the printed character, as evidenced by the letters of Nicolas Jenson. Extremely well-proportioned and unified in form, Jenson’s type reconciled capitals with small letters and provided the blueprint for future letterpress faces.

“Writing is words made visible.

In the broadest sense, it is everything— pictured, drawn,or arranged—that can be turned into a spoken account.

The fundamental purpose of writing is to convey ideas. Our ancestorsa, however, were designers long before they were writers, and in their pictures, drawings, and arrangements, design played a prominent role in communication from the very beginning”.

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Our more familiar Baroque types of the 17th century were designed by Claude Garamond and, later, William Caslon. Displaying low stroke contrast and a diagonal stress derived from Italian cursive, they were elegant and highly legible, their dominance only challenged by the work of John Baskerville in the mid-18th century.

His strongly vertical Neoclassical faces were based on earlier French grid-based designs and introduced the contrasting stroke weights which were to reach their apotheosis in the coming Romantic faces of Giambattista Bodoni and Firmin Didot.

The influence of calligraphy now diminished as punchcutting evolved and letterforms began to echo their metal origins.

Improved technologies had gradually facilitated fine detail like unbracketed hairline serifs and high stroke contrast. As a result these sophisticated designs earned type a newfound importance in their ability to command attention.

This was timely as the next phase would require and produce various distinctive faces, though the beauty of their form would be contested.

The pictures presented are examples of extraordinary typography. Four images are from magazines, two are album covers, two are street art, and the last is a sign above my bed.

p e r s o n a l

logos 44

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elements of

design 46

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poster m u s e u m

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m u s e u m

logos 50

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sketch

book 52

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