Tang jane portfolio single

An exploration of the history, usage & terminology used in the graphic arts.

a n e Ta n g graphic design

Jane’s Typographical Portfolio Winter

Fashion Institute of Design & Merchandising

an

gra

2 Typography portfolio

Hey I’m Jane! This is my typographical portfolio for my 2017 typography c l a s s .

I

have

learned

typography

this

so

many

year,

things and

about

there’s

still much more to know! I can’t imagine what else is in store for the future regarding typography. Very excited!

n e Ta n g

aphic design

Table of Intro: TOC: fonts used: A: j: m: o: g: f: &:

4 Typography portfolio

1-2 3-4 6-7 10-11 12-13 14-15 16-17 18-19 20-21 22-13

Contents LOGOS: UBIQUITOUS TYPE:

MOMT: POP:

24-25 26-27 28-29 30-39

Fonts used Didot times new roman win myanmar menlo baskerville rosewood cochin Dingbat broken planewing Rofitaste overspray neoetric freestyle

6 Typography portfolio

Grotesque Cursive Grotesque: Is frequently used as a synonym with sans serif. At other times, it is used to describe a particular style or subset of sans-serif typefaces. The first sans-serif typeface called grotesque was also the first sans-serif typeface containing actual lowercase letters

Slab Serif Slab Serif: 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. Some consider slab serifs to be a subset of modern serif typefaces including Clarendon, Typewriter, and Slab Serif styles.

Wood Type Wood Type: 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.

Kerni n g

Kerning: Is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. Kerning adjusts the space between individual letter forms, while tracking (letter-spacing) adjusts spacing uniformly over a range of characters.

✌ Bullet Bullet: Is a typographical symbol or glyph used to introduce items in a list.

Serif

Serif: A small decorative line added as embellishment to the basic form of a character.

Typefaces are often described as being serif or sans serif (without serifs). The most common serif typeface is Times Roman. A common sans serif typeface is Helvetica.

Stencil

Stencil: A typeface with breaks in the face to give it the appearance of the stenciled alphabets used on boxes and crates. A stencil is a thin sheet of material, such as paper, plastic, or metal, with letters or a design cut from it, used to produce the letters or design on an underlying surface by applying pigment through the cut-out holes in the material.

Cursive: 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.

Blackletter

12 pt rule

All papers filed must be prepared using a font size not smaller than 12 points. All papers not filed electronically must be printed or typewritten or be prepared by a photocopying or other duplication process that will produce clear and permanent copies equally as legible as printing.

Rule 2.104 amended effective January 1, 2017; adopted effective January 1, 2007; previously amended effective January 1, 2016.

Distressed

Hairline Rule 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.

Reversed

Blackletter: 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.

Distressed typefaces cover a lot of ground. Some replicate the irregular contours of brush strokes and other writing implements.

Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps.

Reversed: Placing light or white type against a darker background – is a useful way to add emphasis as well as to help develop a strong typographic hierarchy.

A reverse headline can provide an inviting, eye-catching point of entry, signaling the viewer to “look here” before moving on to the other elements.

Calligraphy

Transitional

Oblique

ligraphy: Is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments.

œfiflӕ

Cal-

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

Glyph ₯ Glyph: Is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing.

Transitional: English printer and typographer John Baskerville established this style in the mid 18th century. These typefaces represent the transition between old style and neoclassical designs, and incorporate some characteristics of each.

Swash

Swash: Is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.

Oblique type: Is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted.

D

rop cap

Drop cap: the first letter of a paragraph that is enlarged to “drop” down two or more lines, as in the next paragraph. Drop caps are often seen at the beginning of novels, where the top of the first letter of the first word lines up with the top of the first sentence and drops down to the four or fifth sentence.

Digbat Tracking

Dingbat:

Is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames.

Tracking refers to uniformly increasing or decreasing the horizontal spacing between a range of characters. Most often used to adjust and fine-tune overall letterspacing, tracking can create more readable, pleasing color and texture. It can be utilized for just a few words or for an entire article.

Handlettering

Display

Geometric

Freestyle- Round

Hand lettering: Essentially drawing. Or draftsmanship, depending on how precise you choose to be.

Geometric: Geometric sans-serif typefaces are based on geometric shapes. Note the optically circular letter “O” and the simple, single-story construction of the lowercase letter “a”.

Geometric sans-serif fonts have a very modern look and feel. Of these four sans-serif categories, geometric fonts tend to be the least useful for body text.

Display: Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. A display typeface is designed for the use of type at large sizes, perhaps 30 points or larger.

Freestyle: A freestyle typeface is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. The typeface is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images.

Decorative

Decorative: Also known as ornamental typefaces are used exclusively for decorative purposes, and are not suitable for body text. They have the most distinctive designs of all fonts, and may even incorporate pictures of objects, animals, etc. into the character designs.

Round: A rounded typeface means that all finishes; terminals, overshoots and finials are rounded. It means no sharp corners.

The rounded finish creates a warmth making the font more accessible and sympathetic. A rounded typeface can be both slab- and sans-serif varying in different substyles from humanist to square.

sketchbook

8 Typography portfolio

I don’t sketch traditionally very much but when I do, I sometimes like to finish them digitally!

Character studies |

A

N

o one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.

Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.

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 maintaining 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’.

Didot

The first Modern typeface is attributed to Frenchman Firmin Didot (son of François-Ambroise Didot), and first graced the printed page in 1784. His types were soon followed by the archetypal Didone from Bodoni. The Italian type designer, punchcutter and printer Giambattista Bodoni (what a great name!

[1740-1813]) drew his influence from the Romains du Roi (with its flat, unbracketed serifs) and the types of John Baskerville (high contrast), for whom he showed great admiration.

10 Typography portfolio

Character studies |

J

T

he letter ‘J’ originated as a swash letter I, used for the letter ‘I’ at the end of Roman numerals when following another ‘I’, as in ‘XXIIJ’ instead of ‘XXIII’ for the Roman numeral representing 23. A distinctive usage emerged in Middle High German. Gian Giorgio Trissino (1478–1550) was the first to explicitly distinguish I and J as representing separate sounds.

The letter”J” is rather different to those discussed so far, as it did not exist in Latin and, of course, a great deal of the medieval literate tradition is in Latin. This does need a little explanation.

Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931 and created by Victor Lardent in collaboration with the British branch of the printing equipment company Monotype. Although no longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution with Microsoft products and as a standard computer font, it has become one of the most widely used typefaces in history.

12 Typography portfolio

j J j

Character studies |

T

he letter “M” is one of the most mysterious letters in the English language. It is also one of the most powerful so it will only benefit you to get completely familiar with it. The letter “M” is by far not exclusive to the English language alone, its vibration pops up in all sacred languages, symbols, and runes. “M” is located in the Middle of the English language making it the 13th letter. M is the thirteenth letter of the English alphabet derived from Latin. It is also the thirteenth letter of the ancient North Semitic and Estrucan alphabets.

The Semites were the ones who lived in Syria and Palestine.

They named it mem, their word for water, and adapted an Egyptian hieroglyphic or picture symbol for water.

It is believed that the letter M is the most sacred: masculine and feminine agree in it, it represents the symbol of water.

The letter gives the origin to all times, creates the beginning of the natural and the natural forms of existence.

The letter M is completely in tune with both the Indo-European and Semitic languages, in both cases it refers to the principle of water and birth: Mhat, Madhava, Maya, Manus, Mantra.

W i n

M y a n m a r

Win Myanmar Systems, better known as Win Myanmar Fonts, translates MS Windows menus to Burmese. The Win Myanmar font system for Microsoft Windows is common in Myanmar for digitally processing Burmese script. The software supports both non-Unicode ASCII formats and ISO-compliant Unicode formats. They also include keyboard drivers for Windows.

14

M M

M

M

Typography portfolio

M M

M

O

Character studies | O

Menlo

is a monospaced sans-serif typeface designed by Jim Lyles. The face first shipped with Mac OS X Snow Leopard. Menlo is based upon the Open Source font Bitstream Vera and the public domain font Deja Vu.

M e n l o 16

Typography portfolio

S

ome believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The most fanciful explanation, though, is offered by Rudyard Kipling in his Just So Stories. “How the A l p h a b e t w a s M ade�

recounts how a Neolithic tribesman and his precocious daughter invent the alphabet by drawing pictures to represent sounds. After finishing the A and Y (inspired by the mouth and tail of a carp), the child, Taffy, asks her father to make another sound that she can translate into a picture.

Character studies | G

G

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

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.

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.’

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

Baskerville 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. 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.

18 Typography portfolio

G

G g g

fff Character studies |

f

20

Typography portfolio

Rosewood Std There were many typeface designs based on Clarendon letterforms seen in type catalogs from the 1850s to the 1890s.

A d o b e ’s R o s e w o o d , r e l e a s e d i n 1 9 9 4 , i s m o d eled after Clarendon Ornamented first shown b y Wi l l i a m H . P a g e i n h i s 1 8 5 9 S p e c i m e n s o f Wo o d Ty p e . P a g e ’s c h r o m a t i c v e r s i o n o f C l a r endon Ornamented was first shown in the Oct o b e r, 1 8 6 8 i s s u e o f T h e C h i c a g o S p e c i m e n t h e p e r i o d i c a l o f t h e C h i c a g o Ty p e F o u n d r y.

I

n 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 B.C. Through the process of simplification over many years, the F began to lose its 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 crossbar. With a slight stretch of the imagination, it could be said to look like a nail.

This may be why the Phoenicians called the letter “waw,” a word meaning nail or hook, when they adapted the symbol for their alphabet. In its job as a waw, the character represented a semi-consonant sound, roughly pronounced as the W in the word “know.” However, at various times the waw also represented the ‘v’ and sometimes even the ‘u’ sound.

When the Greeks assimilated the Phoenician alphabet, they handled the confusing waw with typically Greek logic: they split it into two characters. One represented the semi-consonant W and the other became the forerunner of our V. (The ‘w’ sound became the Greek digamma, or double gamma, and was constructed by placing one gamma on top of another.)

& &

Character studies |

&

&

&&

&

&

T

Ampersand

he ampersand is the logogram "&", representing the conjunction word "and". It originated as a ligature of the letters et, Latin for "and". The word ampersand is a corruption of the phrase “and per se & (and)”, meaning “and intrinsically the word and (represented by the symbol &)

22 Typography portfolio

& &

&

&

&

&

&

&

&

&

& &

& C

&

&

&

&

&

&&

&

&

&

Cochin

ochin is a serif typeface. It was originally produced in 1912 by Georges Peignot for the Paris foundry G. Peignot et Fils (future Deberny & Peignot) and was based on the copperplate engravings of French 17th century artist Nicolas Cochin, from which the typeface also takes its name. The font has a small x-height with long ascenders. Georges Peignot also created the design 'Nicolas-Cochin' as a looser variation in the same style.

log

24 Typography portfolio

gos jane•t graphic design

jane T Graphic design student

Jane6

l

!

ang

Ubiquitous Type

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

Typography 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 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, 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.

Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and directions. The subject of this book

26 Typography portfolio

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.

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.

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

new machines. So long as the

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

root lives, typography remains a source of true delight, true knowledge, true surprise.

momt poster

28 Typography portfolio

pop! pop! pop!

30 Typography portfolio

week-1

visual project pop!

volume seven

jasper johns

banksy

andy warhol

larry rivers

issue one shepard fairey

pop!

issue one

banksy

visual project

volume seven

jasper johns

shepard fairey larry rivers

andy warhol

week-2 32 Typography portfolio

shepard fairey larry rivers banksy

issue one jasper johns

volume seven

visual project pop!

andy warhol

week-3

shepard fairey

andy warhol

issue one

larry rivers

pop! visual project banksy jasper johns volume seven

week-4 34 Typography portfolio

week-5 volume seven

jasper johns visual project pop!

issue one andy warhol

larry rivers

banksy

shepard fairey

larry rivers

issue one andy warhol shepard fairey

Typography portfolio

36

week-6 volume seven jasper johns visual project pop! banksy

issue one

banksy visual project jasper johns volumepop! seven andy warhol shepard fairey

shepard fairey

issue one issue one issue one

larry rivers

shepard fairey

andy warhol

shepard fairey

andy warhol andyshepard warhol fairey shepard fairey shepard fairey larry rivers shepard fairey larry rivers larry rivers larry issue rivers one issue one

larry rivers

pop!

issue one andy warhol

shepard fairey

larry rivers issue one

issue one

shepard fairey larry rivers

larry rivers

andy warhol shepard fairey

larry rivers issue one issue issue one one andy warhol andy warhol issue one andy warhol larry rivers shepard fairey larry rivers issue one

larry rivers larry rivers

issue one

issue one

issue one andy warhol

larry issuerivers one

week-7

Typography portfolio

38

week-8

andy warhol volume seven jasper visual johns project pop! banksy shepard issuerivers onefairey larry

week-9

pop! pop! pop! issue one issue one

volume seven

andy warandy warandy warvisual project andy warandy warshepard fairey larry rivers