Sophia Sigala typography portfolio
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Los Angeles, CA Tel. (555)-555-5555 sophiasigala98@gmail.com SophiaSigalaGraphics.com
Sophie’s Graphics is an indepedently owned company. It specualizes in typography but has recently deviated from its main focus and taken on other projects, most notably in branding and logo design. The goal it to exude professionalism,
strengthen client/partner relationships and make them feel as confident as possible in the designers creative process to deliever the best product and experience possible.
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TABLE of CONTENTS
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2) Introduction 6) Fonts Used 8) Terms Illustrated 10) Character Studies 20) Logo Design 22) Ubiquitous type 24) Brochure 28) Typographer Biography 30) Sketchbook 32) MOMT Poster 43) POP 5
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1) Helvetica Neue 2) Avenir Next
3) Times New Roman 4) Didiot 5) Baskerville 6) Lemon and Milk 7) Zapf dingbats 8) tendrils 9) Futura
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Terms Ill •
The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs
➣Hairline Rule
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Hairline Rule. In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image.
➣Cursive
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of writing : flowing often with the strokes of successive characters joined and the angles rounded
➣ Serif •
a slight projection finishing off a stroke of a letter in certain typefaces.
➣Display Type •
large or eye-catching type used for headings or advertisements.
➣ Dingbat •
In typography, a dingbat (sometimes more formally known as a printer’s ornament or printer’s character) is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames.
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In typography, a slab serif typeface is a type of serif typeface characterized by thick, block-like serifs.
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Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type.
➣Drop Cap
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o
f writing : flowing often with the strokes of successive characters joined and the angles rounded
➣ T r a c k i n g •
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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.
➣ Wood Type •
Using wood based stamps like lead was once used for printing presss to hand press pieces of type.
lustrated ➣Didone •
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Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by:t Narrow and unbracketed (hairline) serifs. (The serifs have a constant width along their length.) Vertical orientation of weight axes. (The vertical strokes of letters are thick.) Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) An unornamented, “modern” appearance.
➣ EM Dash •
a long dash used in punctuation.
➣ Distressed •
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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.
Reversed A reverse-contrast letterform is a typeface or custom lettering in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing, the horizontal lines are the thickest.
➣ Raised Cap
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➣ Frac/ tion •
A font that appears to have been grinded upon and destressed. It looks uncean, as if someone had stepped on it and really rubbed their foot in
Raised cap A design style in which the first. capital letter of a paragraph is set in a large point size and aligned with the baseline of the first line of text. Compare to a drop cap.
➣ Ligature
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Two or more letters combined into one character make a ligature.
➣ Calligraphy •
he art of producing decorative handwriting or lettering with a pen or brush. 9
CHARACTER STUDIES
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❖❖❖
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History of th ➣ The origin of the symbol itself, one of the most graceful characters on the keyboard, is something of a mystery. One theory is that medieval monks, looking for shortcuts while copying manuscripts, converted the Latin word for “toward”—ad—to “a” with the back part of the “d” as a tail. Or it came from the French word for “at”—à—and scribes, striving for efficiency, swept the nib of the pen around the top and side. Or the symbol evolved from an abbreviation of “each at”— the “a” being encased by an “e.” The first documented use was in 1536, in a letter by Francesco Lapi, a Florentine merchant, who used @ to denote units of wine called amphorae, which were shipped in large clay jars. ➣ The symbol later took on a historic role in commerce. Merchants have long used it to signify “at the rate of”—as in “12 widgets @ $1.” (That the total is $12, not $1,
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speaks to the symbol’s pivotal importance.) Still, the machine age was not so kind to @. The first typewriters, built in the mid-1800s, didn’t include @. Likewise, @ was not among the symbolic array of the earliest punch-card tabulating systems (first used in collecting and processing the 1890 U.S. census), which were precursors to computer programming.
he @ Symbol
About this font
Avenir
➣ Avenir was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Frutiger has described Avenir as a geometric sans serif with a human touch, unlike the cold mechanical flavor of Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose. ➣ For example, the Light and Book weights are similar, but Book is most appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions. ➣ Use the bold and extra bold weights of Avenir for emphasis with the light, book, and medium weights.
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Character Studies || T
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The History of the T
➣ Four thousand
later, they altered it slightly
years ago, just as today,
until it looked pretty much
people who could not write
like what our T looks like
used a simple cross to sign
today.
letters and formal docu-
➣How did that hap-
ments. In fact, the first
pen? Let’s go back to
name for this ancient sym-
around 1000 B.C. During
bol actually meant “mark”
this time, the Phoenicians
or “sign.”
and other Semitic tribes
➣ One might logical-
used a variety of crossed
ly assume that this com-
forms to represent the letter
mon signature stand-in
they called “taw.” This let-
was the origin of our pres-
ter, one of the first record-
ent X. But that’s not the
ed, served two purposes: it
case. Instead, what looked
represented the ‘t’ sound,
like an X to ancient writers
and it provided a mark for
eventually gave birth to the
signing documents that
Roman T.
could be used by those
➣When the Greeks adopted the taw for their
who could not write their names.
alphabet ten centuries
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Histor of the
Ampersa
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ry
and
◆ 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.”
◆ While playing fast and loose with ampersands isn’t a good idea, and client guidelines should always be respected, there are times when a little ampersand creativity can produce excellent typographic results. ◆ The following are a few guidelines and suggestions for getting a little more from this special character The ampersand in the italic designs of the Bulmer®, New Caledonia®, and ITC Legacy® Serif typeface families is in keeping with lowercase proportions, but the majority of ampersands are of the capital variety – and these can pose a problem when used in text copy. Like ranging numbers, big ampersands in a line of lowercase letters can stand out too much, disrupting the flow of the eye across a page.
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➣ The origin of the symbol itself, one of the most graceful characters on the keyboard, is something of a mystery. One theory is that medieval monks, looking for shortcuts while copying manuscripts, converted the Latin word for “toward”—ad— to “a” with the back part of the “d” as a tail. Or it came from the French word for “at”—à—and scribes, striving for efficiency, swept the nib of the pen around the top and side. Or the symbol evolved from an abbreviation of “each at”—the “a” being encased by an “e.” The first documented use was in 1536, in a letter by Francesco Lapi, a Florentine merchant, who used @ to denote units of wine called amphorae, which were shipped in large clay jars. ➣ The symbol later took on a historic role in commerce. Merchants have long used it to signify “at the rate of”—as in “12 widgets @ $1.” (That the total is $12, not $1, speaks to the symbol’s pivotal importance.) Still, the machine age was not so kind to @. The first typewriters, built in the mid-1800s, didn’t include @. Likewise, @ was not among the symbolic array of the earliest punchcard tabulating systems (first used in collecting and processing the 1890 U.S. census), which were precursors to computer programming.
About this font
Avenir ➣ Avenir was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Frutiger has described Avenir as a geometric sans serif with a human touch, unlike the cold mechanical flavor of Futura. Avenir is unusual in that it has weights that are similar, but each is designed for a different purpose. ➣ For example, the Light and Book weights are similar, but Book is most appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions. ➣ Use the bold and extra bold weights of Avenir for emphasis with the light, book, and medium weights.
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Am persan d Design Studi o
Ampersand Design Studi o
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UBIQUITOUS TYPE
The Presence Of Typography Both Good And Bad, Can Be Seen Ev
T
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 letter- forms 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 than a short manual of typographic 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, 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 unremembered forms.
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■ One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, 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 there 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 travelers, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn. The subject of this book is not typographic solitude, but the old, welltravelled 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 precisely the use of a road: to reach individually 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 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 hieratic script with reed pens on papyrus in 1000
“Typ cra human a dura a
B.C. Sam Cairo, Lo perfectly
■ Writing to learn t Dynasty raphers s Renaissa tant scho scale of forearm real, no l of the hu universa cies. Dog more che typograp any num
verywhere.
pography is the aft of endowing n language with able visual form, and thus with an independent existence.”
FUTURA
mples of their work sit now in museums in ondon and New York, still lively, subtle, and y legible thirty centuries after they were made.
g systems vary, but a good page is not hard to recognize, whether it comes from Tang China, The Egyptian New Kingdom typogset for themselves than with the mutable or ance Italy. The principles that unite these disools of design are based on the structure and the human body - the eye, the hand, and the in particular and on the invisible but no less less demanding, no less sensuous anatomy uman mind. I don’t like to call these principles als, because they are largely unique to our spegs and ants, for example, read and write by emical means. But the underlying principles of phy are, at any rate, stable enough to weather mber 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. 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. 23
BROCHURE Outside
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xtraction, iced, arabica qui spoon single shot java. Blue mountain, et, chicory
fair trade frappuccino extra rich steamed. Body, et single origin, bar café au lait beans in to go et blue mountain barista grinder. Ristretto roast breve
single shot foam variety a siphon single shot and organic. Grinder percolator cultivar carajillo, redeye, trifecta, breve blue mountain to go percolator plunger pot frappuccino. Sit, caramelization con panna, to go doppio breve ut caramelization café au lait. Galão.
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BROCHURE Inside
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AMPersAnd Design Studio
Ampersand
Hitting
Design Studio
Ampersand Design Studio
her’s
S ugar oated C L
Candy colored nails make this season bright!
Story: Raquel Grandos Photos: Kylie Dunn and Paula Guimaraes
et your nails selves, do so why not go the talking!crazy? For those who No need to - sug may be a bit more timid ar coat it, unless its and afraid to step out literally. Dipped in of their comfort zone, glitter decoratednails with are the way to go. candy, or even if you’re Seeking inspira just mixing it up with tion from the hottest some new patterns new nail trends is your nails are a way always a good idea, for you to tell a story. but why not- some We should use them thing that you - nor to express our inner mally never would.
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John J
ohn Baskerville (28 January 1706 – 8 January 1775) was an English businessman, in areas including japanning and papier-mâchÊ, but he is best remembered as a printer and type designer. Baskerville became a writing master at Birmingham but in 1740 established a japanning (varnishing) business, whose profits enabled him to experiment in typefounding. He set up a printing house and in 1757 published his first work, an edition of Virgil, followed in 1758 by an edition of John Milton. Appointed printer to the University of Cambridge, he undertook an edition of the Bible (1763), which is considered his masterpiece.
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Baskerville He published a particularly beautiful edition of Horace in 1762; the success of a second edition (1770) encouraged him to issue a series of editions of Latin authors. The bold quality of Baskerville’s print derived from his use of a highly glossed paper and a truly black ink that he had invented. His typography was much criticized in England, and after his death his types were purchased by the French dramatist Pierre-Augustin Caron de Beaumarchais. Their subsequent history is uncertain, but in 1917 the surviving punches and matrices were recognized, and in 1953 they were presented to the University of Cambridge. Baskerville type has been revived, its clarity and balance making it a good type for continuous reading.
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SKETCHBOOK
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TYPOGRAPHY POSTER
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POP
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pop visual project issue one volume seven
in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’hara
Week 1 35
pop visual project issue one volume seven in this issue:
andy warhol
r o y
l i c h t e n s t e i n
jasper johns
larry rivers frank o’hara
Week 2 36
pop
visual project
issue one
volume seven
in this issue:
andy warhol roy lichtenstein
jasper johns larry rivers
frank o’hara
Week 3 37
pop visual p r o j e c t issue o n e
volume s e v e n in this andy
roy
jasper
issue: warhol
lichtenstein
johns
larry r i v e r s frank o ’ h a r a
Week 4 38
pop
visual project issue one volume seven in this issue:
Week 5 39
pop
visual project issue one
volume seven
in this issue: andy warhol
roy lichtenstein
s hn s e er sp riv hara a j rry o’ la nk fra o rj
Week 6 40
visual project issue one
volume seven in this issue:
Week 7 41
Week 8 42
Week 9 43
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