Riosflores fa2016

Typographical

PORTFOLIO “An exploration of the history, usage and terminology used in the graphic arts”

Fashion Institute of Design

Merchandising

FALL 2016

LUIS GERARDO RIOS GRAPHIC DESIGN

fall 2016

protfolio

1

My name is luis rios I am a first year graphic design student here at the fashion institute of design and merchadising.

2

protfolio

fall 2016

LUIS GERARDO RIOS GRAPHIC DESIGN

fall 2016

protfolio

3

ABLE OF

ONTENTS

4

protfolio

fall 2016

02 04

ABOUT ME LOGOS

TABLE OF CONTENTS

06

0

26

UBIQUITOUS TYPE FONTS USED

8

0 1

SKETCH BOOK TERMS

CHARACTER STUDIES

protfolio

28

MUSEUM POSTER

POP!

fall 2016

25

31

32

5

ONTS

USED

GOTHAM IMPACT FUTURA BIG CASLON 6

protfolio

fall 2016

YPOGRAPHICAL

ERMS

fall 2016

protfolio

7

Typographical Te BLACKLETTER lackletter, 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 German language until the 20th century.

D

DROP CAP

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.

HAIRLINE RULE A hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths.

Hairline is often used to refer to a hairline rule, the thinnest graphic rule line printable on a specific output device. Hair or hairline is also a type of serif, the minimum thickness for a serif.

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. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts.

SERIF 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 (or serifed 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”.

8

protfolio

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

The Hamilton Wood Typ was founded in 2000 and Wisconsin, United States Two Rivers Historical So preservation, study, prod type used in letterpress p

Distressed typefaces cover replicate the irregular con other writing implements texture of parchment and low-tech look of woodcut

FRACTION 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.

Writing in calligraphy involves using a dip pen with a nib and ink to create thick and thin lines using varying degrees of pressure, all in a single stroke.

Calligraphy takes a certain discipline to learn, and is something one must practice consistently to create “muscle memory” of certain strokes.

Tracking is the space b rather than individual the overall character d than the actual effect t readability of type, tra make lines of type eve

DECOR

Decorative and di popular in the 19t used extensively o tisements. This sty could be artistic a way that wasn’t co William Morris la Crafts movement experimentation a time, developed th

fall 2016

erms

pe and Printing Museum d is located in Two Rivers, s. The museum is run by the ociety. It is dedicated to the duction and printing of wood printing.

r a lot of ground. Some ntours of brush strokes and s. Others capture the organic d stone, or approximate the ts, stencils and rubber stamps.

DISPLAY TYPE Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and are known as display faces.

Most effect typefaces are display types. Common features of display type include tighter default letter spacing, finer details and serifs, slightly more condensed letter shapes and larger differences between thick and thin strokes.

(DINGBAT) 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. 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.

The appearance of type can become altered when reversed; therefore, select a typeface that will perform well under your chosen conditions. A sans serif or a serif design with sturdy serifs is wellsuited to reversing. Avoid ultra thin type styles, very light serifs, extreme weight contrast, and small counters, all of which might be compromised when reversed.

LIGATURE

between groups of letters l letters. Tracking affects density of the copy. Other that it could have on acking would be used to en.

RATIVE

isplay fonts became th century and were on posters and adveryle of type and lettering and eye-catching in a onsidered previously. aunched the Arts and and as part of the and innovation of the he Troy typeface. fall 2016

In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph. An example is the character æ as used in English, in which the letters a and e are joined. The common ampersand & developed from a ligature in which the handwritten Latin letters e and t were combined.

— EM DASH —

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 serifs, vertical orientation of weight axes, strong contrast between thick and thin lines, some stroke endings show ball terminals, and an unornamented, “modern” appearance.

—An em-dash is the longest of the three, and is used to indicate a break in thought — as illustrated in this sentence. It can also be used RAISED CAP to separate a thought within a sentence — such as this one — which would then require ecorative initial caps (capital an em-dash at the beginning and the end of letters) at the start of a paragraph that the phrase. sit on the baseline of the first line of text but are noticeably larger, raised above the accompanying text are raised caps. protfolio

9

10

protfolio

fall 2016

fall 2016

protfolio

11

CHARACTER STUDIES

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.

12

protfolio

A

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.

fall 2016

av

DIDOT Didot is a group of typefaces named after the famous French printing and type producing Didot family. The classification is known as modern, or Didone.

fall 2016

protfolio

13

CHARACTER STUDIES

f snakelike character, and by the time it emerged as an Egyptian hieratic form it wasn’t much more than a vertical stroke capped by a small cro ssbar.

With a

In its earliest years, the letter that evolved into our F was

an Egyptian hieroglyph that literally was a picture of a snake.

This was around 3,000

slight

B.C. Through the process of simplification over many years, the F began to

of the

imagination, it

could be said to look

lo se its

14

stretch

like a snail.

protfolio

fall 2016

Za pfi no i s a calli gra ph i c ty pe fa c e des i gned for Li noty pe b y ty pe fa c e

des i gner Hermann Za pf i n 1998.

It i s bas ed on a n alpha b e t Za pf ori gi na lly penned i n 194 4 . A s

a font, i t makes extens i ve u se o f

li gatures and chara cter va ri a ti o n s

fall 2016

protfolio

15

CHARACTER STUDIES

G

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.

16

protfolio

fall 2016

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, as it cooled.

In America, with the expansion of the commercial printing industry in the first years of the 19th century, it was inevitable that someone would perfect a process for cheaply producing the large letters so in demand for broadsides. Wood was the logical material because of its lightness, availability, and known printing qualities.

fall 2016

protfolio

17

CHARACTER STUDIES

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).

18

protfolio

fall 2016

Baskerville is a serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England and cut by John Handy.[1] 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.

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.[3] The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville’s time

fall 2016

protfolio

19

CHARACTER STUDIES

R

ooted 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

20

protfolio

fall 2016

Caslon

is the name given to serif typefaces designed

by William Caslon I (1692–1766) in London, or inspired by his work.

Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type. He worked in the tradition of what is now called old-style serif letter design, that produced letters with a relatively organic structure resembling handwriting with a pen. Caslon established a tradition of designing type in London, which had not been common, and so he was influenced by the imported Dutch Baroque typefaces that were popular in Envagland at the time.His typefaces established a strong reputation for their quality and their attractive appearance, suitable for extended passages of text.

fall 2016

protfolio

21

CHARACTER STUDIES

X

about the font

PHOSPHATE Erbar or Erbar-Grotesk is a sans-serif typeface in the geometric style, one of the first designs of this kind released as type.[1] Designer Jakob Erbar’s aim was to design a printing type which would be free of all individual characteristics, possess thoroughly legible letter forms, and be a purely typographic creation. His conclusion was that this could only work if the type form was developed from a fundamental element, the circle.

The success of Erbar inspired the creation of many new geometric sans-serif faces by competing foundries including Futura, Metro, Vogue, Spartan, Twentieth Century, and Phosphate.

22

protfolio

fall 2016

T

he Phoenician ancestor to our X was a letter called “samekh,” which meant fish. Although some historians argue that the character represented a post or support, with only a small stretch of the imagination the drawn character can be seen as the vertical skeleton of a fish.

When the Greeks adopted the Phoenician alphabet they left some of the Phoenician sibilant letters behind, taking only those that represented sounds the Greeks required.

The ancestor to our X, which represented a sharp ‘s’ sound, was one such letter. The Phoenician samekh became the Greek “xi,” which had different sound values in the Eastern and Western Greek alphabets.

GRAPHIC DESIGN

fall 2016

protfolio

23

OGOS

24

protfolio

fall 2016

GRAPHIC DESIGN

GRAPHIC DESIGN

LUIS GERARDO RIOS GRAPHIC DESIGN

Museum of Motdern Typography

Museum of Modern Typography

MUSEUM OF MODERN TYPOGRAPHY

fall 2016

protfolio

25

Ubiquitous Type

By Milton Glaser

T

Target

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 letterforms 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 some-thing more

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

26

than a short manual of typo-graphic 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, Bodega L 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 Pho Resta unremembered forms.

One question, nevertheless, has been “Typography is the craft of endowi often in my mind. When all right-thinking language with a durable visual form human beings are struggling to remember that other men and women are free to be different, with an independent existence.� 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 th ere 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 Teri Cafe protfolio

fall 2016

Cham

Barnes & Noble

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 pre- cisely the use of a road: to reach individu- ally 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, Louie 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 aurant Vhieratic script with ing human reed pens on papyrus m, and thus in 1000 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 Home 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.

mps

Ronald McDonald House Charity

L.A Live

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 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.

Cat Cafe

fall 2016

protfolio

27

KETCHES

28

protfolio

fall 2016

S TA R T E D W I T H

JUST FOCUSING ON MY INITIALS FOR THE P E R S O N A L LO G O, BUT ENDED UP N O T R E A L LY LIKING WHERE IT WA S H E A D E D .

F I N A L LY, E N D E D UP JUST USING M Y S I G N AT U R E FOR THE DESIGN, HOWEVER, ITS STILL A WORK IN PROGRESS.

D

OODLING RANDOM SCRIPTS JUST TO GET SOME NEW IDEAS ABOUT THE PERSONAL LOGO.

G

OING THROUGH SEVERAL STAGES WITH THE MUSEUM LOGO. STARTED WITH BASIC SHAPES THEN WORKED ON IMPLEMENTING LETTERS INTO THE SHAPES. FINALLY ENDED UP WITH JUST USING THE INITIALS TO CREATE THE SHAPE I WANTED TO ACHIEVE.

fall 2016

protfolio

29

MUSEUM POSTER

30

protfolio

fall 2016

The Museum of Modern Typography Presentshical ap r g

po y e T of h T ork w

s e n

o J -

s a i

e r e r F

b o T

December 17 - January 18

Museum of Modern Typography

221 South Grand Avenue Los Angeles, CA 90019

fall 2016

Tuesday - Saturday 10- 5 Sunday 9- 4 Closed Mondays www.museumofmoderntypography.com protfolio

LUIS GERARDO RIOS GRAPHIC DESIGN

31

pop! pop! pop! pop! pop!

32

protfolio

fall 2016

pop!

in this issue:

yayoi kusama

issue one

jasper johns

visual project

rosson crow

volume seven

andy warhol bansky

fall 2016

protfolio

33

34

volume seven

visual project

issue one

in this issue:

protfolio

bansky

andy warhol

rosson crow

jasper johns

yayoi kusama

pop!

fall 2016

yayoi kusama yayoi kusama yayoi kusama jasper johns

jasper johns

rosson crow

rosson crow

rosson crow

andy warhol

andy warhol

andy warhol

bansky

bansky

bansky

yayoi kusama yayoi kusama jasper johns

jasper johns

rosson crow

rosson crow

andy warhol

andy warhol

bansky

bansky

pop!

jasper johns

issue one

in this issue: visual project volume seven

yayoi kusama yayoi kusama yayoi kusama jasper johns

fall 2016

jasper johns

protfolio

jasper johns

35

bansky

andy warhol volume seven

visual project

rosson crow

yayoi kusama

in this issue:

jasper johns

jasper johns

bansky

andy warhol

yayoi kusama

yayoi kusama

in this issue:

in this issue:

jasper johns

volume seven

issue one

rosson crow

protfolio

bansky

36

visual project

bansky

issue one

rosson crow

andy warhol

andy warhol

visual project

volume seven

rosson crow

jasper johns

rosson crow

volume seven

issue one

visual project

visual project

yayoi kusama

in this issue:

jasper johns

andy warhol

jasper johns

issue one issue one

volume seven

rosson crow

visual project

yayoi kusama

bansky

andy warhol

volume seven in this issue:

issue one

bansky yayoi kusama

yayoi kusama

jasper johns

rosson crow

andy warhol

in this issue:

in this issue:

issue one

visual project

volume seven bansky

pop!

in this issue:

yayoi kusama

issue one

jasper johns

visual project

rosson crow

volume seven

andy warhol bansky

fall 2016

fall 2016

protfolio

volume seven

visual project

issue one

in this issue:

volume seven

visual project

p!

p!

issue one

in this issue:

po

volume seven

visual project

o p

issue one

in this issue:

volume seven

visual project

issue one

in this issue:

! op ! p op! p

op

! p p! op p po ! ! p p o p po ! pop pop!

! p po

p po o p ! p po ! po p! p ! p

pop !

po op! p!

37