JUNG HUANG
GRAPHIC DESIGN
JUNG HUANG
GRAPHIC DESIGN
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ntro
JH graphic design portfolio is a way she wants to show how she learns from the typography, also show her works combine from the culture. The typography is the same language we use in the graphic design. But the English are more flexible to handle. We can see more imagination in typography. She was determined to find interesting ways to integrate her background.
PORTFOLIO TABLE OF CONTE
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ENTS
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PORTFOLIO
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onts 6 PORTFOLIO JUNG HUANG SPRING 2018
Ball Bearing Didot Helvetica Neue Minion Pro Charter Black Avenir Next Caviar Dreams Impact
PORT VINTAGE
Bauer Bodoni Hero Light Bauhaus93 Alien League
typographical
terms
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OBLOQUE Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type.
TRACKING
GROTESQUE
BULLET
Tracking will help to eliminate widows and orphans in paragraphs.
This group features most of the early (19th century to early 20th) sans-serif designs.
The bullet symbol may take any of a variety of shapes, such as circular, square, diamond or arrow.
TPOGRAPHY A
S
S
I
G
N
M
E
N
T
BLACKLETTER Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule.
WOOD
Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE.
DISPLAY
Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text. 10
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KERNING
In typography, kerning is the process of adjusting the spacing between characters in a proportional font.
DROP CAP
Drop caps and initials are an effective way of grabbing readers attention because they add personality and visual strength to the page.
CURSIVE
OE
LIGATURES
In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph.
DISTRESSED
The age of digital type has brought with it many advancements and timesavers, but too much perfection can get boring.
SLAB SERIF
HANDLETTERING Hand lettering is the art of drawing letters by hand. In history, we’ve seen this in ancient calligraphy art forms like Chinese calligraphy.
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.
CALLIGRAPHY
SWASH
A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.
GLYPH
In typography, a glyph is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing.
DINGBAT
Cursive writing focuses more on the formation and connectedness of strokes within an individual character while for Latin, Cyrillic and Arabic languages.
In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.
Calligraphy is a type of lettering, and yet, it isn’t. In the simplest of terms from typography and design expert Gerrit Noordzij, calligraphy is writing—a single pass of the pen/tool to write as a form of art.
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.
12 PT. RULE
SERIF
TRANSITIONAL
HAIRLINE RULE
In typography, the point is the smallest unit of measure. It is used for measuring font size, leading, and other items on a printed page.
In typography, a serif is the little extra stroke found at the end of main vertical and horizontal strokes of some letterforms.
Typography has always been intrinsically linked to technology, a fact most dramatically illustrated by the introduction of the Transitional designs.
In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths.
Pictograph
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ocean
music
desire
stars
flame
character studies
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CHARACTER STUDIES
S
ome 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’. The Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today. The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the first letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language. 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.
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Amarillo This set is a complete overhaul of the Amarillo font set released in 2002. All letters have been completely redrawn and made slightly wider than it’s predecessor. These new letters are better balanced for improved consistency. Of course, all sidebearings and kerning have been redone as well. In addition to Regular and Bold, a new Thin version has been added, along with Shadow and Rustic versions for each weight for a total of 9 fonts.
CHARACTER STUDIES
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.) While the character was eventually dropped from the Greek alphabet, it was able to find work in the Etruscan language. Here it did yeoman’s service until the Romans adopted it as a symbol for the softened ‘v’ or double ‘v’ sound. Even today, the German language (an important source for English) uses the V as an F in words like “vater,” which means father and is pronounced “fahter.” Finally, the F found a permanent home as the very geometric sixth letter of the Roman alphabet.
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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.
CHARACTER STUDIES Rather fittingly, the origins of the question mark are clouded in myth and mystery. One of the most appealing stories links the curve of the question mark to the shape of an inquisitive cat’s tail. This feline connection is either attributed to the ancient Egyptians (who were, of course, famed for their worship of cats), or to a monk who took inspiration from his curious pet cat, and included the symbol in his manuscript. A parallel story suggests that the exclamation mark derives from the shape of a surprised cat’s tail! Sadly, like many of the most charming and amusing origin stories, there is no evidence to back up this tale. Another possibility links the question mark with the Latin word quaestio (‘question’). Supposedly, in the Middle Ages scholars would write ‘quaestio’ at the end of a sentence to show that it was a question, which in turn was shortened to qo. Eventually, the q was written on top of the o, before steadily morphing into a recognisably modern question mark. However, just like our cat friends above, there is no manuscript
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evidence for this theory. The story accepted by most involves Alcuin of York, an English scholar and poet born in 735, who was invited to join the court of Charlemagne in 781. Once there, Alcuin became one of Charlemagne’s chief advisors, and wrote a great number of books, including some works on grammar. In the early Middle Ages, punctuation was limited to a system of dots at different levels. Recognizing the limitations of this system, Alcuin created the punctus interrogativus or ‘point of interrogation’. This mark was a dot with a symbol resembling a tilde or ‘lightning flash’ above it, representing the rising tone of voice used when asking a question. This new punctuation mark spread rapidly from the court of Charlemagne to other centres of learning. However, its use still remained haphazard, and it was often interchanged with the exclamation mark, or omitted entirely. It wasn’t until the 17th century that the question mark gained the familiar form and rules of use that we know today, and not until the mid-19th century that it first began to be referred to as a ‘question mark’.
Impact Impact is a realist sans-serif typeface designed by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry of Sheffield. It is well known for having been included in the core fonts for the Web package and distributed with Microsoft Windows since Windows 98. More recently, it has been used extensively in image macros or Internet memes.
ske
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tch
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ubiquitous type
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historical report
auhaus 28 PORTFOLIO JUNG HUANG SPRING 2018
LESS IS MORE. I PREFER TO SEE WITH CLOSED EYES.
20th
What is
Bauhaus
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Bauhaus—literally translated to “construction house”—originated as a German school of the arts in the early 20th century. Founded by Walter Gropius, the school eventually morphed into its own modern art movement characterized by its unique approach to architecture and design. Today, Bauhaus is renowned for both its unique aesthetic that inventively combines the fine arts with arts and crafts as well as its enduring influence on modern and contemporary art. Throughout the 20th century, several styles of avant-garde art helped shape modern art. While many of these genres—including subconsciousbased surrealism and energetic abstract expressionism—predominantly favored paintings, the Bauhaus movement encompassed a wide array of mediums, materials, and disciplines. Ranging from paintings and graphics to architecture and interiors, Bauhaus art dominated many outlets of experimental European art throughout the 1920s and 1930s. Though it is most closely associated with Germany, it attracted and inspired artists of all backgrounds. Today, its influence can be found in art and design all over the world, whether within the walls of a museum or on a suburban street.
20th
Morden Art When I first time heard about “Bauhaus� was in my high school. Bauhaus for me was the new thing for that time. First, when I saw this word, I could not figure out what that means. However, when I saw the books that mention about this new art style called modern art in 20th. While I saw the images, that had a lot of geometric shapes, color blocks, and lines. In the meantime, I had some clue about Bauhaus. On the images looks clean and powerful, they get my eye right away. In my heart, I love modern and geometric. After 20th, Bauhaus style influences our world a lot. For example, architectures, types of furniture, or daily necessities stuff. This style changes our lifestyle, also change our sense of beauty. In the graphics world, this style push design on the different level. Less is more, and I still can remember this sentence in my head. Sometimes, this tip is helping me a lot. When I was a struggle about my design, I always think that I need to put more stuff in my works that my design looks more abundant. However, that is entirely wrong. A great design sometimes just need a good idea. Furthermore, let work looks clean, and power can show that how deep the works. Fewer things are harder than put fewer things are harder than bunch things, Because of that is hard to balance typesetting. Bauhaus maybe not the highest art style, but that is no doubt Bauhaus influences society a lot. Nowadays, people pursue the simple life, and we struck from the busy days. Less is more, that is all core part we are looking for.
FONTS STYLE OF
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BAUHAUS
FONTS STYLE
BAUHAUS
LESS IS MORE.
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GRAPHIC WORKS
BAUHAUS
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GRAPHIC WORKS
BAUHAUS
redesign
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FIDM WEEKLI
P w OP eek
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freida kahlo
marilyn monroe
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tom cruise
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