Rosenzweig typography sp

aa a

typographical

portfolio

summer

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allie

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graphic design

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allie rosenzweig

graphic design

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A typographical portfolio

aa aa typographical

portfolio

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allie

rosenzweig

graphic design

y T po T gr ap hy

y p o g r a p h y is the creation of letters and the study of type.

Everyday we are surrounded by text and type, yet many time we don’t even take a minute to really look at it.

Typography has taught me to take the time to look and think about the typography that surrounds me. It has taught me the beauty in fonts and the power of typography in design.

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A typographical portfolio

aa Contents

6 816 18

Ampersand Logo Design

Matura MT Script, Halo Handletter, District Thin, Bradley Hand ITC TT Bold, Lao MN, Geneva, Comfortad Bold, Rockwell, Modern N.2, Cooperplate, Oriya Sangam NN, Myriad Pro, Optima, Popular Std Black, Orator St, Stix General, Litho Pro, Sathu

Character Studies *Fonts listed on each page

Typographical Poster

Lubalin Graph, Avant Garde, Serif Gothic, Fat Facet

Identity

Serif Gothic, , LuxuryRoyaleJF, Onyx, Serif Gothic Black

20

22 2830 Ubiquitous Type

Couier, Helvetica Neue, Avenir Next Condensed

Sketchbook

Greeting Card Onyx, Serif Gothic, Fat Face, Rockwell, Lubalin Graph

Pop Project

Helvetica Neue

Typographical Terms

*Fonts listed on poster

Ampersand Logo Design

6 A typographical portfolio

Ampersand art+commerce

Character Studies

s 8

A typographical portfolio

G

Character Study

The Letter G

G

was first invented around the year 230 B.C. by a Roman freedman, Spurius Carvilius Ruga, who is also famous for opening the first private elementary school in all of recorded history.

Ruga developed the letter ‘G’ to differentiate from ‘C’, which was then used to mean both the /k/ and /g/ sounds.

‘G’ has two frequently used lowercase forms. One, the ‘single story’ form, is often used in handwriting. This form is sometimes called the ‘open tail’ form.

The General Mills logo is an uppercase cursive ‘G’. The company uses the letter to serve as their entire logo. The cursive ‘G’ logo became the brand’s identity in 1963.

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Didot · Channel Slanted 2 · Helvetica

ZZ Z Z Character Study

The Letter Z

Z

is the l alpha ast letter o bet.

In the f the cur r introd ent E alpha uced 1st c ng b e a of the et to accu gain at th ntur y BC, lish r Z e in Gre Greek zet ately repr end of th was esent a. Th e ek wo Latin e Y tha t the rds, and i letter Z a the sound s pp R rathe r than omans too the only le eared on ly tt k from Etr us directly fr er besides Zeta, om G can. reek, b ‘zee’, ut in Ame r d i Englis eriving fr can Englis om a h, its h dia le la Anoth n er En ctal for m. te 17th ce ame is It dat glish n tur y e d proba s from the ialectal fo r m is b izzard Frenc ly derives mid-18th c h . e would ézed, wh from Occit ntur y and a o b n s prost e, perha e recons izèda or p hetic t vowe s a popul r ucted La the ar for t l. m wit in for m In ea ha rl by ch ier times, th il or re dren ter m e English lated inate alpha d typog raphi not with Z bets used c sym bols. but with &

Z

br ush and O was found e f by a er Alon. T d by Jack comp his to Rimo The l Z br ush any name ol was cr kh o is e d image go uses a digital sc Pixologic ated n u I also s of a per s abstract Z lpting too nc. l on r u . cript to cre nn to produ ct it i use the a ing. The ate the s use Z d for. r tistic ele used is ment to the

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10 Haettenschweiler · Abadi MT Condensed · Bureau Empire A typographical portfolio

A

Character Study

The Letter A

A

is th e the I first lette SO b r and a It is simil sic Latin vowel i n ar G a whic after h it d reek lette to the A lphabet. t n vers e r c ient to th he Gree ion c rives. T alpha, k e h fr o verti rests 8th cen Dark Ag cal li nsists o e upper- om tu e f c n cros alph upon its ry BC, th s, dating sed es, joine two mor ase a s e let e in d at midd rese bet of lat ide, but ter the t or less le by their m i e n r op, a b t earlie l t h e a ho i m e s altho nd r s ugh the mod es it gen Greek alep t certain izontal b m e be d e h a isting any loc rn capit rally alph , the first ancestor r. The a a of on u l l a e leg ished by varieties letter, may bet. In t letter of of “A” is t , h the s c th u e cro o h horte an ss lin r by the head ave bee rn, the o e Phoen o r ni ri th a n ic e

by E in proto- a pictog gin of ale ian re ography is set. I ngle at w ng p gypt Sina nE , th ram ph hich res ian itic a tria o “A” i ents six e letter A nglish ngula hierogl script i f an ox s th dif cu n y exte nded r head w phs, sty fluenced letter i e third-m ferent vo rrently n led . w ith tw o Engl In th adop ish. st-comm el sound o ho as e ea t e d s. rns on rliest the E The Ro write Gree man ly used trusc t h e k ins s L a resu cript lting atin lang n alpha later ions b lette Latin r wa uage, an et to a l p s h d lang uage abet use preserve the d d s, in cludi to write in the ng E nglis many h.

The A very BC netw o a the t bstract A rk logo p hree r lette and use omo use rs of s liga s the n ture a to lin etwo k rk.

Bauh aus 93 • InaiM ath

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i•D

idot

Character Study The Letter O

T

he letter ‘O’ in its graphic form has remained fairly constant from Phoenician times until today. The name of the Phoenician letter meant “eye”, and indeed its shape originates simply as a drawing of a human eye (possibly inspired by the corresponding Egyptian hieroglyph, c.f. Proto-Sinaitic script). Its original sound value was that of a consonant, probably, the sound represented by the cognate Arabic letter letter ayn.

The letter O is the fourth most common letter in the English alphabet. Like the other English vowel letters, it has associated “long” and “short” pronunciations.

The logo below is done for overstock.com. Overstock is an online retail marketplace. The logo is also used for the parent company, O.co. The red of the logo and the bleeding of the ‘O’ done in knockout type creates an interesting shape.

12 A typographical portfolio

[O

]O

This logo for Oldsmobile was used by General motors from 1996 to 2004. The logo stopped being used once the car stopped being made on April 29th, 2004. the logo was created to emphase the company being futuristic in design and thinking. The rocket was the main symbol the company used when creating their logos. the two lines moving to the upper right represent the rocket and power of their cars.

GRAPHIC DESIGN

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Bureau Empire, Times New Roman, Minion Pro

VVVVVVVVVVVVVVV

Character Study The Letter V

V V

alentino Clemente Ludovico Garavani, Valentin fashion designer and founder of the Valentino company. Valentino SpA is a clothing compan 1959 by Valentino Garavani. It is a part of Valentino The logo uses the V of valentino and the elegant circ to showcase the high end fashion company. The log consistant over the years and help up to the test of

VVVVVVVVVVVVVVV 14

A typographical portfolio

VVVVVVVVVVVVVV

V

no, is an Italian o SpA brand and ny founded in Fashion Group. cle around it go has remained time.

T

he letter V has the same history as the letter U, derived from the letter waw. The Romans created the letter V after the Greek letter Epsilon was reintroduced into the Latin alphabet. U and V were used interchangeable for hundreds of years until the Renaissance, where they began to use V for the beginning of words and the U everywhere else. With the invention of printing, the distinction between V and U became increasingly important, and V was recognized as a letter in the late 18th century.

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Blackoak Std, Apple Symbols, Bauhaus 93, Bureau Empire

VVVVVVVVVVVVVV

Typographical Poster

p 16

A typographical portfolio

art of typography

The

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abcdefghijklm nopqrstuvwxyz

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An exhibit of the many faces of

3 C8 } 7 W T Q Fat Face

Herb

Lubalin Herb Lubalin is a New York designer and Typographer. His creations include Serif Gothic, Lubalin Graph, Fat Face, and Avant Garde, Serif Gothic combines the readability of serif faces with the simplicity of a sans serif.

abcdefghi Lubalin Graph jklmnopqrstu vwxyz 1234567890

1234567890 ABCDEF GHIJKLM NOPQRSTU VWXYZ 1234567890

Serif Gothic

Thursday 09路18路14 Avant Garde

FIDM Museum 919 S Grand Ave Los Angeles, CA 90015

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Identity

18 A typographical portfolio

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AA graphic design

Allie Rosenzweig

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Ubiquitous Type: A REPORT ON PUBLIC TYPOGRAPHY

By Milton Glaser

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

T

ypography makes at least two kinds of sense, if it blaze the trails they choose. makes any sense at all. It makes visual sense and Typography thrives as a shared concern - and there are no historical sense. The visual side of typography is paths at all where there are no shared desires and directions. always on display, and materials for the study of its A typographer determined to forge new routes must move, visual form are many and widespread. The history of letter- like other solitary travellers, through uninhabited country and forms and their usage is visible too, to those with access to against the grain of the land, crossing common thoroughfares manuscripts, inscriptions and old books, but from others it in the silence before dawn. The subject of this book is not is largely hidden. typographic solitude, but the old, well- travelled roads at the This book has therefore grown into some-thing more than core of the tradition: paths that each of us is free to follow or a short manual of typo-graphic etiquette. It is the fruit of a lot not, and to enter and leave when we choose - if only we know of long walks in the wilderness of letters: in part a pocket field the paths are there and have a sense of where they lead.That guide to the living wonders that are found there, and in part a freedom is denied us if the tradition is concealed or left for meditation on the ecological principles, survival techniques, and dead. Originality is everywhere, but much originality is blocked ethics that apply. The principles of typography as I understand if the way back to earlier discoveries is cut or overgrown. If you them are not a set of dead conventions but the tribal customs of use this book as a guide, by all means leave the road when you the magic forest, where ancient voices speak from all directions wish. That is pre- cisely the use of a road: to reach individu- ally and new ones move to unremembered forms. chosen points of departure. By all means break the rules, and One question, nevertheless, has been often in my mind. break them beautifully, deliberately, and well. That is one of the When all right-thinking human beings are struggling to ends for which they exist. remember that other men and women are free to be different, Letterforms change constantly, yet differ very little, because and free to become more different still, how can one honestly they are alive. The principles of typographic clarity have also write a rulebook? What reason and authority exist for these scarcely altered since the second half of the fifteenth century, commandments, suggestions, and instructions? Surely when the first books were printed in roman type. Indeed, most typographers, like others, ought to be at liberty to follow or to of the principles of legibility and design explored in this book 20 A typographical portfolio

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 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

“Typograpy is the craft of endowing human language with durable visual form, and thus with an independent existence.”

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 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.

Sketchbook

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A typographical portfolio

Experimentations with creating a logo with my name

Experimentations with the simple animal forms

24 A typographical portfolio

Experimentations with the form of the letter A

Experimentations with the form of the letter G 26 A typographical portfolio

Experimentations with the form of the letter W

Greeting Card

28 A typographical portfolio

HAPPY

C H I N E S E

NEW YEAR

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2015 asr411@gmail.com

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Back Cover

Front cover

Wishing Ewe A happy New Year

Inside left

Inside right

Pop Project

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38 A typographical portfolio

Typographical Terms

Ke rn ing Kerning

kerning is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.

D

rop cap Drop cap

With a drop cap, the initial sits within the margins and runs several lines deep into the paragraph, indenting some normal-sized text in these lines.

Helvetica Neue

Æ œ Ligature

Ligature occurs where two or more graphemes or letters are joined as a single glyph.

Helvetica Neue

Helvetica Neue

Slab Serif Slab Serif

Slab serif is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular, or rounded. Slab serif typefaces generally have no bracket.

Hairline rule hairline rule

A hairline rule is the thinnest graphic rule (line) printable on a specific output device.

Baskerville

Rockwell Bold

Display

Blackoak Std

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 hence are known as display faces.

Helvetica Neue

oblique Oblique

Serif Serif

Oblique type is a form of type that slants slightly to the right, used in the same manner as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except distorted.

Kelvinized

Hand lettering Hand lettering

A typface that appears or is created by hand.

Cursive

Cursive

Cursive is joined-up writing, joint writing, running writing, or handwriting is any style of penmanship in which the symbols of the language are written in a conjoined and/or flowing manner.

Bounce Script

❊❈❊❆▼ Dingbat

A dingbat is an ornament, character or spacer used in typesetting, sometimes more formally known as a printer’s ornament or printer’s character.

Zapf Dingbats

Wood type Wood type

Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE.

A glyph is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing and thereby expressing thoughts, ideas and concepts.

Helvetica Neue & Kefa

Helvetica Neue 12 pt rule In typography a rule is a line. The point size discribes the thickness or weight of the rule.

The 12 pt rule is a rule at weight 12 pt.

ĜĿýPዤ Glyph

Display

A serif is a small line attached to the end of a stroke in a letter or symbol, such as when handwriting is separated into distinct units for a typewriter or typesetter.

Bookman Old Style

Distressed Distressed

Distressed (or weathered look) is the activity of making a piece of furniture or object appear aged and older, giving it a “weathered look,” and there are many methods to produce an appearance of age and wear.

Reversed Reversed

A lighter typeface on a darker background, such as white text on a black background, is reversed type.

Helvetica Neue

Transitional Transitional

The primary characteristics of Transitional type is medium contrast between thick and thin strokes, less left-inclined axis than Old Style faces (closer to vertical), and a triangular or flat tip where diagonal strokes meet (such as the base of a W).

Avenir Next

•Bullet• Bullet

In typography, a bullet ( • ) is a typographical symbol or glyph used to introduce items in a list.

British Quest

Tioem Black Distressed

Helvetica Neue

Tr a c k i n g Tracking

Grotesque Grotesque

Black letter Black letter

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.

Helvetica Neue

Calligraphy Calligraphy

Calligraphy is a visual art related to writing. It is the design and execution of l ettering with a broad tip instrument or brush in one stroke. Giving the art of giving form to signs in an expressive, harmonious, and skillful manner.

Matura MT Script

Grotesque is used as a synonym for sans-serif in typography. It can be used to describe a particular style or subset of sans-serif typefaces.

Bangla Sangam MN

Swash Swash

A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc. on a glyph.

Channel Slanted 2

40 A typographical portfolio

This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering.

FlutedGermanica

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