JEREMY KIRSCHKE GRAPHIC DESIGN
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JEREMY KIRSCHKE GRAPHIC DESIGN
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Bullet A small symbol, such as a solid circle, printed just before a line of type, such as an item in a list, to emphasize it.
Blackletter
Also called Gothic. A style of handwriting popular in the 15th century.
Drop Cap A large capital letter at the beginning of a text block that has the depth of two or more lines of regular text.
Hand Lettering
Also known as vintage fonts. With their irregular contours and weathered appearance.
Hairline Rule
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Distressed
Adjusting the space
Kerning
Type used to attract attention, usually above 14 points in size.
Display Type
Elegant handwriting, or the art of producing such handwriting.
Calligraphy
Two or three characters
Ligature
Any representation of a character in a font, including characters, numerals, punctuations, signs, symbols, accents, dingbats, etc.
Glyph
Early italic typefaces that resemble handwriting but with the letters connected.
Cursive
Roman characters
Oblique
A frequent synonym for San Serif, also known as Gothic. First typeface containing lowercase letters.
Grotesque
A symbol, character, or ornament used in a typesetting.
Dingbat
TYPOGRAPHICAL TERMS
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Refers to type that drops out of the background and assumes the color of the paper.
Reversed Type
A fine line or rule, ¼ or 0.25 points in thickness.
A typestyle that combines features of both Old Style and Modern.
The points of leading between each line of type; 12 points wide.
12 Point Rule
Wood Type
Transitional Type
Type made from wood. Formerly used for larger display sizes more than 1 inch.
A capital letter with an ornamental flourish, extended piece of line to a font.
Also called Egyptian and square serif, typestyle recognizable by its heavy, square serifs.
The opening and closing cross-strokes in the letterforms of some typefaces. “With Feet” compared to Sans Serif which have “No Feet”
Swash
joined as a single character, fi, fl, ffl, and ffi are the most common.
Slab Serif
between the letters of text. Adjustment between individual letterforms.
Serif
Drawing letters as opposed to writing them, and are often very decorative.
Used in digital typography to mean overall letter spacing. Adjusts spacing uniformly over a range of characters.
Tracking
that slant to the right. Compare to italic.
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Character Studies
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o 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 generally thought to be the basis of the one we use today.) No 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.
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TIMES NEW ROMAN Times New Roman gets its name from the Times of London, the British newspaper. In 1929, the Times hired typographer Stanley Morison to create a new text font. Morison led the project, supervising Victor Lardent, an advertising artist for the Times, who drew the letterforms.
CHARACTER STUDIES
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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.
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Lucida Black Letter The forceful visual presence of blackletter typestyles evolved from the early handwritten forms of liturgical writings and illuminated manuscripts. Blackletter was an elegant solution to a tricky design problem: parchment was precious and economy of space was vital, but the text also had to have sufficient oomph to hold its own against the spectacular illustrations surrounding it.
CHARACTER STUDIES
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ne 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. The basic form of the question mark was developed much later, in sixteenth-century England. Most typographic historians contend that the design for the question mark was derived from an abbreviation of the Latin word quaestio, which simply means “what.” At first this symbol consisted of a capital Q atop a lowercase ‘o’. Over time this early logotype was simplified to the mark we use today.
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Colonna MT is an inline roman typeface with some very elegant letterforms, based on artwork obtained by Stanley Morison during 1926 as part of a program to increase the range of display faces in the Monotype library. The letters of the Colonna font have an inscriptional feel about them, figures are non-ranging. Originally developed as an advertising face, Colonna is at its best when used in large sizes.
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T
The presence of typography both good and bad, can be seen everywhere.
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 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
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, well- traveled 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
unremembered forms. 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
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 B.C. Samples of their work sit now in museums in
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others, ought to be at liberty to follow or to blaze the trails they choose. Typography thrives as a shared concern POR TFOLIO
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. 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.”
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JEREMY KIRSCHKE GRAPHIC DESIGN
JEREMY KIRSCHKE GRAPHIC DESIGN
JEREMY KIRSCHKE GRAPHIC DESIGN
WHAT’S GOING ON AROUND CAMPUS
WHAT’S GOING ON AROUND CAMPUS
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WHAT’S GOING ON AROUND CAMPUS
May 14 - M ay 25 WHAT’S GOING ON AROUND CAMPUS
Phi Theta Kappa Hosts:
DIY AIR PLANTS
We’re celebrating Earth Month! Add more greenery to your apartment by decorating your own plant pottery to take home with you. Supplies will be provided. Tuesday, April 24 11:15 a.m. - 12:00 p.m. Student Lounge Patio
The Industry Club Welcomes:
CELEBRITY FASHION DESIGNER
Intrested in being a fashion designer and entreprenuer? Hear from celebrity designer, Walter Mendez, whose creations have been featured on celebrities like Beyonce, Britney Spears, Selena Gomez, Mel B, Jennifer Lopez, Camila Cabello and more. Tuesday, April 24 2:45 p.m. - 3:30 p.m. Room 425
FIDM MODETM Magazine Hosts:
A LOOK BEHIND THE MAGAZINE Interested in learning what it takes to put a magazine together? Join FIDM MODETM Magazine for our first photoshoot of the quarter, a make-over! Thursday. April 26 10:30 a.m. - 12:00 p.m. Room 425 The Industry Club Hosts:
PINKIES UP: AN EMAIL ETTIQUETTE WORKSHOP Lost for words when you have to send a professional email? No worries, we got you! Join us for tea time and learn the unwritten rules of email etiquette to make the best impressions. Tuesday, May 1 2:45 p.m. - 3:30 p.m. Room 425
Phi Theta Kappa Social:
SELF DEFENSE CLASS Join PTK for this safety workshop led by Peace Over Violence. Empowerment self-defense is a set of awareness, assertiveness, verbal confrontation skills, safety strategies, and physical techniques. These enable one to successfully prevent, escape, resist, and survive violent assaults. Sign up in Room 425. Friday, April 27 11:15 a.m. - 12:00 p. 500 Student Council Hosts:
CONFIDENCE WORKSHOP You got what it takes, you just haven’t realized it yet. Learn impactful ways to let your confidence speak for you. Whether your’e asking someone out on a date, going to an interview, networking or asking for a raise, confidence is key.
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Wednesday, May 2 11:15 a.m. - 12:00 p.m. POR TFOLIO Room 425
DENIM DAY
Wear denim with a purpose, support survivors, and educate yourself and others about sexual assualt and rape! Sign our pledge to support survivors. #endrapeculture Wednesday, April 25 All Day
Phi Theta Kappa Hosts:
GIRL POWER DAY Ladies! Let’s have a serious (and fun) chat about our bodies. Remove the stigma that comes with being a woman. Embrace your femininity and feel empowered with PTK. Who runs the world?! Tuesday, May 1 11:15 a.m. - 12:00 p.m. Room 425
FIDM MODE™ Magazine:
FIDM TOTE BAG CHALLENGE! Looking for a way to get involved in MODE™ Magazine? Here’s your chance to showcase your talent. MODE is looking for fun and creative designed FIDM Tote Bags to feature in their upcoming issue. Take the classic FIDM Tote and transform it with fabric, paint, patches, beads, rhinestones or anything that inspires you. 10 lucky winning designs will get chosen! Stop by Student Activities, Room 425 for more details to apply. Sketches are due May 3. Contest ends May 25.
CAREER CENTER Indusrty Partnership on Wednesday, April 25 from 11:00 .am. - 2:30 p.m. in the Student Lounge Companies will be on campus to recruit for part time and interships positions in the Student Lounge. Come prepared to network and interview.
FINANCIAL SERVICES
Student Activities Presents:
“MAY THE FOURTH BE WITH YOU” MIXER Attention Star Wars lovers! Join us for this awesome mixer. Watch one of the classics while enjoying refreshments and snacks. The best Star Wars inspired outfit will win a prize! Friday, May 4 11:15 a.m. - 12:00 p.m. Room 425
Effective as of July 1, 2017, failed units will be subject to a $500 per unit charge (Example: 3 units =$1,500.00). Please see Financial Services for further information.
ARE YOU WIRED? Do you have access to your email, WiFi, Adobe, eLearning, FIDM Portal, and FIDMPrints? Make sure to check the FIDM Portal or visit either eLearning (Room 403) or the Annex Copy Center to make sure you are wired for FIDM Technology this quarter!
NEED MONEY TO HELP PAY TUITION? If you are a student starting your 2nd, 3rd or 4th year, in the Summer Quarter of 2017 you may be eligible to receive a Scholarship from the FIDM Scholarship Foundation ♦ ELIGIBILITY REQUIREMENTS: • Cumulative GPA 3.0 • U. S. citizen or permanent resident. • Currently employed or interning ♦ INSTRUCTIONS & APPLICATION REQUIREMENTS • Meet with Student Advisor to obtain application in suite 401
- Now AvailableSubmit completed FIDM Scholarship Foundation Application to your Student Advisor including references and resume Don’t delay, schedule your appointment today!
GRADUATES June 2018 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: May 15, 2018 E-Exits are available online at WWW.MYLOANCOUNSELING.COM COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held. If you have any questions, please contact Evelyn Garcia at (213) 624-1200 ext 4292 egarcia@fidm,edu or stop by room 401-N.
THE FIDM STORE EARTH DAY SALE
GET YOUR MONEY’S WORTH! UTILIZE THE FIDM LIBRARY RESOURCES
Stop by the Media Room to check out DVD feature films, documentaries, runway shows, and biographies! Also discover innovative textiles, review Vogue Magazines from 17 different countries, and MUCH MORE!
SAVE THE DATE! CAP & GOWN DISTRIBUTION! Wednesday, May 16 12:30 p.m. - 5:00 p.m. Check in at Rotunda (1st Floor)
GRAD CARNIVAL
1:30 p.m. - 6:00 p.m. *RSVP REQUIRED at FIDMGRADCARNIVAL.RSVPIFY. COM
STUDENT ADVISEMENT CURRENT INFORMATION
Does FIDM have your most current address, phone number, and email address? If not, please go to the Student Advisement office, Rm. 401 to update your information. Thank you.
Attention All First Year 2nd Quarter Students!
Have you met with your Student Advisor? If not, you need to schedule your appointment in room 401 as soon as possible to start planning for your 2nd yr.
In support of Earth Day, our reusable drinkware is 20% from April 23 27! Celebrate a clean Earth and purchase a reuseable water bottle or tumbler at the FIDM Store.
NOW ACCEPTING APPLICATIONS FOR SUMMER 2018 AND FALL 2018! Look beyond your current AA degree and consider your options to earn your Bachelor degree in: Business Management Apparel Technical Design Design Interior Design Graphics Digital Cinema Social Media Come to Suite 401 to make an appointment today! Now Accepting Applications For MBA For Summer 2018 (You need to have a Business Bachelor Degree) Contact Sang Pak in Student Advisement, Suite 401A, spak@fidm.edu, for more informations
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R
ichard Alden Griffin was born near Palos Acid Tests. Rick’s first San Francisco rock poster Verdes, California on the 18th of June 1944. was for the Jook Savages Art Show, celebrating His father was an engineer and amateur the one-year anniversary of the Psychedelic Shop archaeologist on Haight Street. He and as a “Drawing on influences as diverse as Native then produced the poster boy Rick for the Human Be-In in American culture, the Californian surf accompanied scene, the burgeoning hippie movement, he 1967 in Golden Gate him on digs in incorporated beetles, skulls, surfing eyeballs, Park, advertised as the the Southwest. vivid colours and wild lettering into his art.” “Gathering Of Tribes”, It was during showing a guitar toting this time that Indian on horseback. It Rick was exposed to the Native American and was this event that kicked off the Summer of Love. ghost town artifacts that were to influence his later As the Haight-Ashbury scene developed, Rick’s works of art. work was in high demand. In the mid 1960s, he participated in Ken Kesey’s Rick produced a series of seminal posters for Chet Helms, a producer of The Family Dog collective, and Bill Graham, who staged events at the Avalon Ballroom and the Fillmore Auditorium respectively. He made posters for legends such as Jimi Hendrix, Albert King and the Grateful Dead, the logo for Rolling Stones magazine, and many album sleeves; perhaps the most well known being The Grateful Dead’s Aoxomoxoa album. Along with Alton Kelley, Stanley “Mouse” Miller, Victor Moscoso and Wes Wilson, Rick became known as one of the “Big Five” of psychedelia. In 1967 they founded the Berkeley-Bonaparte distribution agency to produce and sell psychedelic poster art. He oversaw the lithography, ensuring a flow of quality artwork by himself and other leading lights, destined to grace the walls of the enlightened to this day. He was one of the leading American designers of psychedelic posters in the 1960’s.
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CAPTAIN BEEFHEART
QUICKSILVER - 1968
BIG BROTHER - 1968
AOXOMOXOA - 1969
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