Thamma sp

The Fashion Institute of

Design & Merchandising

typographic

An Exploration of the History, Usage and Terminology of Type as used in the Graphic Arts

WINTER 2015

Hello! My name is

Ariel Thamma and I am currently a student majoring in graphic design at the Fashion Institute of Design and Merchandising.

Right now, my current goal is to learn as much as I can and forge myself, through blood, sweat, and tears into becoming a stunning Graphic Designer.

My long term goal is to make a career out of my passion and one day support my family and achieve my dreams.

TABLE OF CONTENTS Logo Character Study Calendar Poster ubiquitous Type Sketch Book POp! Typographical Terms

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Character Study

Character Study

The letter A

A is the 1st letter and the first vowel in the ISO basic Latin alphabet. It is similar to the Ancient Greek letter alpha, from which it derives. The earliest certain ancestor of “A” is aleph (also written ‘aleph), the first letter of the Phoenician alphabet(which consisted entirely of consonants, thereby being an abjad rather than a true alphabet). In turn, the origin of aleph may have been a pictogram of an ox head in protoSinaitic script influenced by Egyptian hieroglyphs, styled as a triangular head with two horns extended.

THE LETTER G The letter ‘G’ was introduced in the Old Latin period as a variant of ‘C’ to distinguish voiced /g/ from voiceless /k/. The recorded originator of ‘G’ is freedman Spurius Carvilius Ruga, the first Roman to open a fee-paying school, who taught around 230 BC. At this time, ‘K’ had fallen out of favor, and ‘C’, which had formerly represented both /g/ and /k/ before open vowels, had come to express /k/ in all environments.

Ruga’s positioning of ‘G’ shows that alphabetic order related to the letters’ values as Greek numerals was a concern even in the 3rd century BC. Sampson (1985) suggests that: “Evidently the order of the alphabet was felt to be such a concrete thing that a new letter could be added in the middle only if a ‘space’ was created by the dropping of an old letter.”

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

Baskerville is classified as a transitional typeface, a refinement of old style typefaces of the period, such as those of 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.

I

n most English-speaking countries, including Britain, Canada, India, Ireland, and Australia, the letter’s name is ‘zed’ /ˈzɛd/, reflecting its derivation from the Greek zeta (this dates to Latin, which borrowed X, Y, and Z from Greek, along with their names), but in American English its name is ‘zee’ /ˈziː/, analogous to the names for B, C, D, etc., and deriving from a late 17th century English dialectal form.

Another English dialectal form is izzard /ˈɪzərd/. It dates from the mid-18th century and probably derives from Occitan izèda or the French ézed, whose reconstructed Latin form would be *idzēta,[1] perhaps a popular form with a prosthetic vowel.

Other languages spell the letter’s name in a similar way: zeta in Italian, Basque, Spanish, and Icelandic (no longer part of its alphabet but found in personal names), zäta in Swedish, zæt in Danish, zet in Dutch, Polish, Romanian, and Czech, Zett in German (capitalised as noun), zett in Norwegian, zède in French, zê in Portuguese, and zét in Vietnamese. Several languages render it as /ts/ or /dz/, e.g. zeta /tsetɑ/ or /tset/ in Finnish. In Standard Chinese pinyin the name of the letter Z is pronounced [tsɨ], although the English ‘zed’ and ‘zee’ have become very common.

It represents /ʒ/ in words like ‘seizure’. More often, this sound appears as “su” or “si” in words such as ‘measure’, ‘decision’, etc. In all these words, /ʒ/ developed from earlier /zj/ by yod-coalescence.

Few words in the Basic English vocabulary begin with “z”, though it occurs in words beginning with other letters. It is the most rarely used letter in written English. It is more common in American English than in British English, due to the endings ‘-ize’ vs ‘-ise’ and ‘-ization’ vs ‘-isation’, where the American spelling is derived from Greek and the British from French. “z” is more common in the Oxford spelling of British English, as this variant prefers the more etymologically ‘correct’ ‘-ize’ endings to ‘-ise’ endings; ‘-yse’ is preferred over ‘-yze’ in Oxford spelling though, as it is closer to the original Greek roots of words like ‘analyse’. One native Germanic English word that contains ‘z’, ‘freeze’ (past ‘froze’, participle ‘frozen’) came to be spelled that way by convention, even though it could have been spelled with ‘s’ (as with ‘choose’, ‘chose’, ‘chosen’).

Z is used in writing to represent the act of sleeping (sometimes as ‘zzz’ or ‘zzzz’). It is used because closed-mouth human snoring often sounds like the pronunciation of this letter.

Calendar

The year of the Monkey

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Poster

Ubiquitous

Type

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

›› 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 andold 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.

Ubiquitous

type

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 travellers, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn. The

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 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.

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.” subject of this book is not typographic solitude, but the old, well- travelled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose - if only we know the paths are there and have a sense of where they lead.That freedom is denied us if the tradition is concealed or left for dead.

Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is pre- cisely the use of a road: to reach individu- ally chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist.

Letterforms change constantly, yet differ very little, 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.

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Typographical Terms

Typographical Terms 12pt Rule The default and most common point size for body copy text.

Hairline Rule A fine line or rule, 1/4 point in

Reversed Type

Bullets A typographical element usually used to highlight speicific lines of text or create an unordered list.  This is a bullet point.  This is another one.  Other symbols can be used as

Type that drops out of the background and takes the color of

Drop Cap

T

he large capital letter occuring at the begining of body copy that extends two or more lines down into the paragraph for emphasis and style.

IncisedBlackWide

Fancy Card Text

Caligraphy is elegant handwriting, or the art of producing such handwriting.

Webdings

Dingbat is an ornamental character or symbol used for emphasis, spacing, or decoration in type.

Blackletter, also called gothic, was a popular style of handwriting in the fifteenth century. Typestyles or fonts based on this handlettering are classifed as blackletter.

Also called lettter-spacing, refers to the ammount of space between a group of letters to affect density in a block of text.

Dollie Script Personal Use

Cursive, Early ittalic typefaces that resemble handwriting but wit hthe letters disconnected.

minion pro

Ligature, two or more letters such as stjoined together to form one glyph or character.

Arial Regular Impact

Display type is used to attract attention, usually above 14 points in size.

Grotesque, is also known as san serif type or a subset of san-serif. It was considered ugly or gross, hence the name, for some time, but it was actually the first san-serif typeface containing lowercase letters

Avenir Light Oblique

Oblique is a roman typeface that is silanted to the right or left.

Times New Roman

Zapfino

Swash a set of elaborate flourishes, tails ascenders, and descenders.

Baskerville

Transitional type styles with more refined serifs and clearly drawn thick and thin strokes.

Blackoak Std

Slab Serif a character typeface marked by thick and block like serifs.

Mesquite Std

Woodtype Traditionally the commerical printing of the 19th century, it produced large letters ideal today for westerns.

Serif a small decorative line added as embellishment to the basic form of a character. Times New Roman is the mos common serif typeface.

Minion pro

Glyph is a specific symbol such as letters, special characters, numbers, punctuation marks, symbols, shapes and so on.