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TYPO GRAPHIC WHITNEY graphic design NICOLE

Portfolio An exploration of the history, usage and terminology of type as used in the graphic arts.

FASHION INSTITUTE OF DESIGN & MERCHANDISING

WHITNEY graphic design NICOLE

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WHITNEY NICOLE graphic design/spring 2015

Conte Table of

an early age. Whether it was through dance,

painting or even theatre, I've always craved an outlet for my creative passions. To become a

FIDM student was just a step toward making my dreams become my reality. Learning about type this quarter has opened my eyes to the type

that lies all around me and to take inspiration from it. I like to think that this portfolio truly shows my growth as a designer.

whitney nicole

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Art has always played a part in my life since

ents

LOGO DESIGN

CHARACTER STUDIES POSTER DESIGN IDENTITY UBIQUITOUS TYPE SKETCHBOOK NEWSLETTER POP! PROJECT

TYPOGRAPHICAL TERMS

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logo design thought process

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AMPERSAND art + commerce

AMPERSAND art+commerce

AMPERSAND art commerce +

MOMT

Museum of modern typography

WHITNEY graphic design NICOLE

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graphic design

signature series

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whitney nic le graphic design

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whitney nicole graphic design

whitney nicole graphic design

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I wanted minimal design w ith a touch of spunk.

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WHITNEY graphic design NICOLE final logo

WHITNEY graphic design NICOLE

character s tu d i e s a peek into the history of the alphabet

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A CHARACTER STUDIES THE LETTER A

ABOUT THE FONT Perpetua is a typeface that was designed by English sculptor and typeface designer Eric Gill (1882– 1940) for Monotype. It is classified as a transitional serif font, designed in the style of fonts such as Baskerville from the late 18th and early 19th century with high stroke contrast, a vertical stress and bracketed serifs.

NO 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 gener- ally thought to be the basis of the one we use today.)

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 Phoeni- cians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.

The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for main- taining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’.

The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years. They’re also the basis of many of the lowercase designs. ‘A’ is the first letter. There are 25 more stories.

g G CHARACTER STUDIES THE LETTER G

F

Generally speaking, there are no launch dates for the letters of our alphabet.

DIDOT

This font, also known as Didone, was Created by Firmin Didot (1764-1836) who was born in a Parisian dynasty that dominated French typefounding for two centuries.

His family owned their own printing firm which was called the House of Didot. Firmin Didot created the first modern Roman typeface in 1784, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style.

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or the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time.

The G, however, is an exception. In fact, our letter 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 upsidedown 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.

The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds.

The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’

The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered superfluous for the writing of Latin. The ousted Z took its place at the end of the line.

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whitney nicole graphic design

M CHARACTER STUDIES THE LETTER M

BRAGGADOCIO

A geometrically constructed sansserif stencil typeface designed by W.A. Woolley in 1930 for the Monotype Corporation. A product of the Art Deco era, Braggadocio shares similarities with Architype Albers and Futura Black.

m

H

istorians tell us that our current M started out as the Egyptian hieroglyph for “owl.” Over thousands of years, this simple line drawing was further distilled into the hieratic symbol for the ‘em’ sound. Eventually, the great-grandparent of our M looked a bit like a handwritten ‘m’ balanced on the tip of one stroke.

The Phoenicians called the letter mem. It’s easy to see that the Phoenician mem is based on the Egyptian hieratic symbol, and that it’s the forerunner of the thirteenth letter of our alphabet.

The mem looked much like our two-bumped lowercase ‘m’ with an added tail at the end.

The Greek mu evolved from the Phoenician mem. The Greeks further simplified the letter and, in the process, converted the soft, round shapes into angular strokes.

The Etruscans and then the Romans adopted the Greek form, but neither made substantial changes to the shape or proportions of the character. Sometime in the third or fourth century A.D. the rounded lowercase ‘m’ began to appear, but it was almost lost in later centuries. In medieval writing, it became common practice to place a stroke over the preceding letter instead of writing the ‘m’ (probably because ‘m’ is one of the more time-consuming letters to write).

The Romans also pressed the M and six other letters – I, X, V, L, C, and D – into double-duty as their numerals, and gave M the honor of standing in for the highest value, 1,000.

—Allan Haley

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Z CHARACTER STUDIES THE LETTER Z

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ROCKWELL A serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters. The typeface was designed at the Monotype foundry’s inhouse design studio in 1934.

The final letter, z’s history includes a time when it was so infrequently used that it was removed altogether.

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hat letter is used most rarely in English? Poor lonely z finishes up the alphabet at number 26. The final letter, z’s history includes a time when it was so infrequently used that it was removed altogether.

The Greek zeta is the origin of the humble z. The Phoenician glyph zayin, meaning “weapon,” had a long vertical line capped at both ends with shorter horizontal lines and looked very much like a modern capital I. By the time it evolved into the Greek zeta the top and bottom lines had become elongated and the vertical line slanted, connecting to the horizontal lines at the top right and the bottom left.

Around 300 BC, the Roman Censor Appius Claudius Caecus removed z from the alphabet.

His justification was that z had become archaic: the pronunciation of /z/ had become /r/ by a process called rhotacism, rendering the letter z useless. At the same time that z was removed, g was added, but that’s another story.

Two hundred years later, z was reintroduced to the Latin alphabet but used only in words

whitney nicole graphic design

typographic portfolio

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taken from Greek. Because of its absence and reintroduction, zeta is one of the only two letters to enter the Latin alphabet directly from Greek and not Etruscan.

Z was not always the final letter of the modern English alphabet, although it has always been in the 26th position. For years the & symbol (now known as the ampersand) was the final, pronounced “and” but recited with the Latin “per se,” meaning “by itself.”

The position and pronunciation eventually ran together, with “X, Y, Z, and per se and” becoming “X, Y, Z, ampersand.”

Z is the most rarely used letter in the alphabet; however, American English uses it more often than British English. Early English did not have a z but used s for both voiced and unvoiced sibilants. Words in English that originated as loan words from French and Latin are more likely to be spelled with a z than an s. Also, American standardization modified /z/ suffixes to more accurately reflect their pronunciation, changing –ise and – isation to –ize and –ization.

WHITNEY graphic design NICOLE

POSTER design type as design

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❉❖✺✤✧❆✙

HERMANN ZAPF EXPLORATIONS OF TYPOGRAPHY WITH

Hermann Zapf, a German typeface designer born in 1918, is most famous for Zapf Dingbats, Zapfino and Palatino typefaces. Thought his life he designed types for various stages of printing, including hot metal composition, phototypesetting and finally digital typography for use in desktop publishing.

JUNE 20 201 5

8 PM MOMT

Museum of modern typography

5905 Wilshire Boulevard Los Angeles, CA 90036

fi nd i ng an i d e n ti ty defining yourself graphically

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WHITNEY graphic design NICOLE BUSINESS CARD WHITNEY NICOLE

graphic design

whitney nicole wnseulke@gmail.com c: 703.999.7503

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back

ENVELOPE WHITNEY graphic design NICOLE

LETTERHEAD WHITNEY graphic design NICOLE

UBIQUITOU A report on public typography

T

TYP

ypography makes at least two are struggling to remember that kinds of sense, if it makes other men and women are free to any sense at all. It makes be different, and free to become visual sense and historcal sense. The more different still, how can one visual side of typography is always honestly write a rulebook? What on display, and materials for the reason and authority exist for these study of its visual form are many and commandments, suggestions, and widespread. The history of letterforms instructions? Surely typographers, and their usage is visible too, to like others, ought to be at liberty those with access to manuscripts, to follow or to blaze the trails inscriptions and old books, but from they choose. others it is largely hidden.

Typography thrives as a shared This book concern and has therefore “Typography is the craft of there are no grown into paths at all endowing human language something where there with a durable visual more than are no shared a short desires and form, and thus with an manual of directions. A typographic independent existence.â€? typographer etiquette. determined It is the fruit of a lot of long walks to forge new routes must move, like in the wilderness of letters: in part other solitary travellers, through D SRFNHW Ă€HOG JXLGH WR WKH OLYLQJ uninhabited country and against the wonders that are found there, and in grain of the land, crossing common part a meditation on the ecological thoroughfares in the silence before principles, survival techniques, and dawn. The subject of this book is ethics that apply. The principles of not typographic solitude, but the old, typography as I understand them are well- travelled roads at the core of not a set of dead conventions but the the tradition: paths that each of us tribal customs of the magic forest, is free to follow or not, and to enter where ancient voices speak from all and leave when we choose - if only directions and new ones move to we know the paths are there and unremembered forms. have a sense of where they lead. That One question, nevertheless, has freedom is denied us if the tradition is been often in my mind. When concealed or left for dead. Originality all right-thinking human beings is everywhere, but much originality

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US

PE

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, because they are alive. The principles of typographic clarity have also scarcely altered VLQFH WKH VHFRQG KDOI RI WKH ÀIWHHQWK FHQWXU\ ZKHQ WKH ÀUVW ERRNV ZHUH 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 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 type.

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.

o us

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

By Milton Glaser

type

S k e t ch b o o k l ook exploring typography through sketch

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newsletter red u x graphic redesign

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NEWsletter

MON TUES WED THURS FRI

JAN 20 JAN 21 JAN 22 JAN 23 JAN 24

MEDITATION

FIDM BACHELOR OF SCIENCE

Informational Session Dates: Monday, February 24 or Tuesday, February 25 11:15 a.m. in the Student Lounge Please come to one of the informational sessions. The department chairperon, Mr. George Sims, will be there to answer all your questions.

The fidm Store

Please visit thefidmstore.com 213.624.1200 x4160 M - Th: 8:00 a.m. - 6:00 p.m.

F: 8:00 a.m. - 3:00 p.m.

New supplies just arrived at The FIDM Store! Mod Podge, charcoals, watercolor paper pads and aqua bee artist marker pads in a new size 8.5x11 fits perfect for the printer. Coming soon: Camel Bak 2 pack bite valve and straw replacement. Open on Saturdays until Feb. 8.

good study habits start at the idea center

Assistance is available in writing, mathematics, computer competency, study skills, research skills, time management, and much more. Come to the IDEA Center, located in the Design Studio East.

M – Th: 8:00 a.m. – 5:00 p.m.

F: 8:30 a.m. – 4:00 p.m.

Instructor-led workshops in Photoshop/Illustrator & Sketching have begun. Stop by the IDEA Center for a schedule of instructors.

Check out the IDEA Center & Design Studio West schedules on the FIDM Portal. Go to “Resources,” click on “Student Services,” then click “Annex Design Studio” or “Tutoring.” You can also stop by the IDEA Center to pick up a schedule.

Textile Science Workshop Assistance in putting together your Swatch Book will be available on Wednesday, Jan 22 from 1:00 p.m. - 2:30 p.m. in the IDEA Center.

CCSA Hosts

Yoga Workshop

Join our CCSA Club for a FREE Yoga class. Learn how yoga can help your physical & mental state.

Open to all current students.

11:15 a.m. - 12:00 p.m.

Room 425

Celebrate Paris with us!!

Find us in the Student Lounge on Tuesday, Jan.28, to learn about our 2014 Paris Summer Institute.

A trip you don’t want to miss!

To sign up, go to https://myfidm.fidm.edu. Click the “MY FIDM” link at the top of the page & select “ABOUT STUDY TOURS” in the navigation bar on the left.

For questions, contact Sevana Dimijian at sdimijian@fidm.edu.

Also, find us on FACEBOOK @ facebook.com/ fidmstudy.tours

student advisement

Attention All First Year 2nd Quarter Students!

Have you met with your Student Advisor? If not, you need to schedule your appointment in Rm. 401 as soon as possible to start planning for your 2nd year.

Current Information Does FIDM have your most current address, phone number, & email address? If not, please go to the Student Advisement office, Rm. 401, to update your information.

library news

Winter is here, but it’s never too early to think about Spring/ Summer trends. Come to the Information Desk and check out what trend forecasters are saying!

Wrap up Student Activities’ Wellness Week with an afternoon meditation session. Lead by Meditation sepcialist, Sonya Joseph. Leave feeling refreshed & calm for your weekend.

New year, new you! wellness Fair

Start the New Year by being healthy. Join us for our annual health fair!

Get services and info from: •Vertigo Salon •Evoke Yoga •Los Angeles Athletic Club •Ralphs •Target Pharmacy 11:15 a.m. - 12:00 p.m.

Student Lounge

from the registrar

The last day to add a class is this Wednesday, Jan. 22; however, due to the MLK JR holiday a Monday class can be added Jan. 27. The last day to drop a M-F class is Wednesday, Feb. 19; for a Saturday class that meets the first 5 weeks for 6 hours the last day to drop is Jan. 25.

From weeks 3 through 6 (Jan. 23 - Feb. 19) classes may also be dropped on the web through the FIDM Portal from 7:00 a.m. - 9:00 p.m. daily.

Students issued Late Registration Forms: Note the due date on the form - failure to return by the due date may result in a loss of financial aid. A $25 late fee will be charged for any Late Reg. Form returned after the due date.

FIDM MODE™ MAGAZINE LAUNCH PARTY

The FIDM MODE™ Magazine presents the release of Fall/Winter 2014 issue. Join us as we celebrate the launch with an exclusive party! Tickets will be sold starting Wednesday, Jan. 22, in Student Activities, Rm. 425, for $10.00 or $15.00 at the door.

7:00 p.m. – 10:00 p.m.

Vertigo Salon (penthouse of the Annex)

11:15 a.m. - 12:00 p.m.

Room 425

Student Council Hosts

Pilates Class

Join Student Council for a fun introductory pilates class. Open to all current students.

11:15 a.m. - 12:00 p.m.

Room A332

Personal Counselors Workshop

How to save a Life Come hear personal stories

from two current students about overcoming depression. Learn tips and tools on how to help yourself and others.

11:15 a.m. - 12:00 p.m.

Student Activities, Rm. 425

Career center

Join Student Council TJ MAXX will be on campus Wednesday, Jan. 22, recruiting for Assistant Managers in the Los Angeles area. Please sign up in the Career Center.

SUNGLASS HUT will be on campus Thursday, Jan. 23, recruiting for their new store at 7th & Figueroa. Please sign up in the Career Center.

zumba

Join us for a high intensity, high energy, Latin inspired workout!

Burn calories while having a blast!

6:30 p.m. - 7:30 p.m. in the Student Lounge

Just design it

(Active Wear for Cotton) This unique competition allows participants to become actively acquainted with the benefits of cotton in active wear design.

In teams of three, participants are challenged to research a sport or fitness activity, develop a consumer profile, and design a cotton rich garment that is functional and fashionable. $19,000 in scholarships will be awarded. Application deadline: January 23 to Suite 201E. For more information contact tedwards@fidm.edu or visit the Portal.

march 2014 graduates

Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the FIDM Portal?

Any questions?

Please see Elizabeth De Gies in room 313.

ALSO...

MARCH 2014 GRADS who benefited from the FEDERAL PERKINS LOAN must complete E-EXIT COUNSELING by the deadline: Friday, February 14.

E-Exits are available online at WWW.UASEXIT.COM COMPLETION IS MANDATORY Failure to complete will result in your DIPLOMA being held.

If you have any questions, please call Evelyn Garcia at (213) 6241200 x4292 or stop by Room 401-N. For technical difficulties, please call UAS at (800) 999-6227

personal counseling freudian slip

Time Management: Here are some tips to organize and streamline your schedule: •Plan ahead •Get a planner/calendar •Set up a work station •Stay organized Want more tips? Visit your Personal Counselors: Jessica Cattani, Room A203B and Shannon DiLauro, Room 208C, or visit www.ReachOut.com

Pop! Project exploring type

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Week One herb lubalin

andy warhol chip kidd

alex truchut paula scher

in this issue: david carson

the visual project zine

volume eight

issue one

pop!

ual project

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paula scher

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vis

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herb lubalin david carson

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chip kidd

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in this issue:

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Week two

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pop! the visual project zine

volume eight issue one

in this issue:

alex truchut

andy warhol

chip kidd

david carson

herb lubalin

paula scher

Week three

alex truchut pop!

andy warhol the visual project zine

chip kidd volume eight

david carson issue one

herb lubalin in this issue:

paula scher

Week four

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pop!

in this issue:

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the visual project zine andy warhol chip kidd

david carson herb lubalin paula scher

volume eight issue one

Week five

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issue one

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the visual project zine

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alex truchut andy warhol chip kidd david carson herb lubalin paula scher

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Week seven

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issue one volume eight the visual project zine in this issue: alex truchut andy warhol chip kidd david carson

herb lubalin paula scher

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pop!

the visual project zine volume eight issue one in this issue: alex truchut andy warhol chip kidd david carson herb lubalin paula scher

Week nine

t ypo gra phical T er m s

illustrated & defined

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TYPOGRAPHICAL TERMS ILLUSTRATED

GROTESQUE

cursive

Once considered ugly, sans serif typefaces were called “grotesques”, a term still used in Great Britain. helvetica medium

Based on handwriting and calligraphy, especially those of the 18th and 19th century, generally NOT to be used in uppercase. edwardian script ITC

dingbat

by whitney seulke

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

Characterized by thick, dominating serifs; most commonly used in large headlines and advertisements but are seldom used in body text. copperplate gothic bold

Slab Serif

Letterforms are dense and compressed with bold horizontal strokes; based on 14th and 15th century manuscripts; often referred to as Gothic, Old English or Broken. grafik text

reversed

In printing, refers to type that drops out of the background and assumes the color, tint, illustration or photograph on the paper. poplar std

WOOD TYPE

Reminicent of the classic “Wanted” posters, it derived its name from the fact that instead of being made of metal, the type was carved from wood, it is distinguished by strong contrasts, an overall dark color, and a lack of fine lines. mesquite std

Typestyles with more refined serifs and clearly drawn thick and thin strokes; modern no.20 bridge between Old Style and Modern typefaces.

➢bullet

TRANSITIONAL

A common type of pi character, available in a variety of sizes, used for decorative or organizational purposes. avenir next

A beautiful style of lettering—typically by hand—based on flat-tipped pen or brush strokes, it exhibits reduced legibility, and should be used sparingly. lighthouse

serif

calligraphy

The finishing strokes that project from the main stroke of the letter are called serifs; it tends to be easier to read, as they provide a horizontal guideline for the eye to “tie” the letters of a word together. uberschrift

Any pictogram used to convey information (such as a hieroglyph), it is also a coding system used in computing minion pro which utilizes printed symbols .

oblique

Ġĺўῥħ

An alternate term for italic, or a term descriptive of a right-leaning change in the posture of the characters in a particular typeface palatino linotype

The informal character of handwritten script not only attracts attention but serves as a contrast to structured typography. notera

ker ning

Manually adjusting the spacing between specific letters, often required and often considered evidence of a great designer. lemon/milk

Type set in a larger point size than the text (commonly greater than 14-point), such as headlines. seaside resort nf

t r a ck i n g

handlettering

DISPLAY

The adjusting of the letterspacing throughout a piece of typeset copy; watch for negative tracking or over tracking, a general rule is to not exceed 20 points. american typwriter

Some typewriter fonts are designed to be slightly distressed or grungy like the messy type from an old manual typewriter. carbontype

distressed

A set of letters—loosely based on italics—but with elaborate flourishes, tails, ascenders, and descenders. riesling Two or more characters designed as a distinct unit and commonly available as a single character. century gothic

D

ROP CAP

ligature

An initial letter set such that the top of the initial is even with the top of the first line of type, also known as sunkin initial. rosewood std

A very thin rule line typically less than one-half point wide. On some devices, the hairline avenir next rule is as thin as the smallest printer spot the device can image.

hairline rule

The most common method used to measure type is the point system, 12 points make up one pica, a unit to measure colomn widths, used to set printing machines. bernard MT condensed

12 pt rule

Font s use d avenir avenir next bebas neue braggadocio didot dk hofstad edwardian script itc helvetica impact lemon milk london manhattan darling mf young & beautiful notera optima rockwell sunshine in my soul zapfino zapf dingbats

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WHITNEY graphic design NICOLE