Estany

Portfolio

Estefany

Garibaldi

Graphic Designer

Fashion Institute of D e s i g n &M e r c h a n d i s i n g

Introduction

E

stefany Garibaldi is a Graphic Design student at the Fashion Institute of Design and Merchandising in Los Angelees, CA. During her first quarter of the Bachelor’s program she has gained insight on typography and the way it affects the pieces of work that it is utilized on. Typography has it’s own voice and speaks to the viewer louder than any of the other elements of a composition. It dictates the vibe of a poster, a magazine.

It subconsciously tells you what the general idea is going to be before even reading what it is actually about. It essentially sets the mood and entices viewers to pick something up.

Therefore, typography should be treated like all other pieces of a design and perhaps even given more importance as it speaks for itself.

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Typographical Terms Character Studies

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3D 3D Type Type Treatment Treatment

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Contents

Ubiquitous Type

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Report on Type

Logo Design

A TEN WEEK STUDY OF TYPOGRAPHY

Table

Sketchbook

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Poster Design

Typographical Terms

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a

GROTESQUE Is frequently used as a synonym with sans serif. At other times, it is used (along with “Neo-Grotesque”, “Humanist”, “Lineal”, and “Geometric”) 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.

a

CURSIVE Cursive (also known as script or longhand, among other names) 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.

12 PT. RULE In print, the optimal point size for body text is 10–12 point.

On the web, the optimal size is 15–25 pixels.

A SERIF Serif’s are semi-structural details on the ends of some of the strokes that make up letters and symbols.

Serif fonts are widely used in traditional printed material such as books and newspapers.

æȧǡ GLYPH

a pictograph; an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of

ab TRACKING letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text.

DISPLAY

⇦

BULLET

S

a typographical symbol or glyph used to introduce items in a list. The bullet symbol may take any of a variety of shapes, such as circular, square, diamond or arrow.

A typeface that is intended for use at large sizes for headings, rather than for extended passages of body text. Display typefaces are used to entice a reader into text copy, to create a mood or feeling, or to announce important information.

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.They are often used to create a box frame.

A BLACKLETTER 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. Blackletter typefaces are based on early manuscript lettering.

DINGBAT

HAIRLINE RULE

§

SLAB SERIF CALLIGRAPHY Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments.

A

SWASH

Swash characters are decorative letters that have a flourish or extended stroke, terminal, or serif, usually at the beginning or end of the character. They tend to be calligraphic in appearance, and they add an elegant touch to an otherwise straightforward letterform.

a|b KERNING

The process if adjust the spacing between (letters or characters) in a piece of text to be printed.

A type of Serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular or rounded. They generally don’t have a bracket.

A DISTRESSED Distressed typefaces have irregular contours and weathered appearanace.

These designes are a great way to return a natural, handmade charm of typhography.

Some replicate the irregular contour of brush strokes and others capture the organice texture of stone.

A

TRANSITIONAL

a line width less than 0.25 of one point.

LIGATURE A ligature occurs where two or more graphemes or letters are joined as a single glyph.

A

A REVERSED Reversed type refers to text that has a light color on a darker background. It is often used to emphasize text.

Transitional typefaces are typefaces that are in transition from oldstyle to modern.

a OBLIQUE Oblique type is a form of type that slants slightly to the right, used for the same purpose as italic type. It uses the same glyphs as Roman type but slanted.

A WOOD TYPE In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled. Wood was the logical material because of its lightness, availability, and known printing qualities.

DROP CAP

A

drop cap is a large capital letter at the beginning of a text block that has a depth of two or more lines of regular text.

A HANDLETTERING It’s a completely different form of discipline, as it is drawing letters as opposed to writing them, and are often very decorative.

Character Studies

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Character Studies

THE LETTER A

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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.

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.

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!

Character Studies

THE LETTER J

T

he letters I and J follow each other in the alphabet and look a lot alike. So it comes as no surprise to discover that our ninth and tenth letters started out as the same character.

The Phoenician ancestor to our present I was a sign called “yodh,” meaning “hand.” The original Phoenician symbol evolved over time into a zigzag shape that was eventually adopted by the Greeks. The Greeks often simplified the symbols they borrowed, and the yodh was no exception.

As used by the Greeks, the zigzag became a simple vertical line. The Greeks also changed the name of the letter to “iota.”

Iota was the smallest letter of the Greek alphabet and, as such, has come to mean “a very small amount.” The word “jot” also derives (via Latin) from the Greek iota, and usually refers to a small note or mark.

Like the G and F, the letter I took its time deciding which sound it represented. The Phoenicians used it as a semivowel, as the ‘y’ in toy.

When the I was adopted by the Greeks around 900 B.C., they used the letter to represent the long ‘ee’ vowel sound. Then, in early Latin, the I represented both the vowel ‘i’ and the semivowel ‘y.’

Eventually, somebody must have grown tired of using one letter to represent two sounds, and so an attempt was made to differentiate them by lengthening the I slightly to represent the semivowel. In the 16th century, a lettering artist decided that merely lengthening the letter was too subtle a change, and added a hook to the bottom of the J. Both the lowercase I and J have a dot, but there are two competing theories as to which got its dot first. One theory maintains that the J was first, with the dot added during the 13th century in an attempt to further distinguish J from I. The other theory posits that the I was dotted first (also during the 13th century), and that the dot’s purpose was to help distinguish the I from straight-sided characters like the M, N and U when it appeared near these letters in blocks of text copy.

CLARENDON CONDENSED Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. of London, a letter foundry often known as the Fann Street Foundry. The original Clarendon design is credited to Robert Besley. Clarendons have a bold, solid structure, similar in letter structure to the “modern” serif typefaces popular in the nineteenth century for body text (for instance showing an ‘R’ with a curled leg and ball terminals on the ‘a’ and ‘c’), but bolder and with less contrast in stroke weight. Clarendon designs generally have a structure with bracketed serifs, which become larger as they reach the main stroke of the letter.

3d Type Treat-

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Sketchbook

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Sketchbook

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Ubiquitous Type

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

B y E s tE fa n y G a riBa ld i

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ypography makes at least two kinds of sense, cisely the use of a road: to reach individually chosen points of if it makes any sense at all. It makes visual departure. By all means break the rules, and break them beautifully, sense and historical sense. The visual side deliberately, and well. That is one of the ends for which they exist. of typography is always on display, and Letterforms change constantly, yet differ very little, because they materials for the study of its visual form are are alive. The principles of typographic clarity have also scarcely many and widespread. The history of letter- forms and their altered since the second half of the fifteenth century, when the first usage is visible too, to those with access to manuscripts, books were printed in roman type. Indeed, most of the principles inscriptions and old books, but from others it is largely hidden. of legibility and design explored in this book were known and This book has therefore grown into something more than a short used by Egyptian scribes writing hieratic script with reed pens on manual of typo-graphic etiquette. It is the fruit of a lot of long papyrus in 1000 B.C. Samples of their work sit now in museums walks in the wilderness of letters: in part a pocket field guide to in Cairo, London and New York, still lively, subtle, and perfectly the living wonders that are found there, and in legible thirty centuries after they were made. part a meditation on the ecological principles, Writing systems vary, but a good page is not survival techniques, and ethics that apply. hard to learn to recognize, whether it comes “Typography is the The principles of typography as I understand from Tang Dynasty China, The Egyptian New craft of endowing them are not a set of dead conventions but Kingdom typographers set for themselves human language the tribal customs of the magic forest, where than with the mutable or Renaissance Italy. ancient voices speak from all directions and with a durable visual The principles that unite these distant schools new ones move to unremembered forms. of design are based on the structure and scale form, and thus with One question, nevertheless, has been of the human body - the eye, the hand, and often in my mind. When all right-thinking the forearm in particular - and on the invisible an independent human beings are struggling to remember but no less real, no less demanding, no less existence.” that other men and women are free to be sensuous anatomy of the human mind. I don’t different,6and free to become more different like to call these principles universals, because still, how can one honestly write a rulebook? they are largely unique to our species. Dogs What reason and authority exist for these commandments, and ants, for example, read and write by more chemical means. suggestions, and instructions? Surely typographers, like others, But the underlying principles of typography are, at any rate, ought to be at liberty to follow or to blaze the trails they choose. stable enough to weather any number of human fashions and fads.

Typography thrives as a shared concern - and there are no Typography is the craft of endowing human language with paths at all where there are no shared desires and directions. A a durable visual form, and thus with an independent existence. typographer determined to forge new routes must move, like Its heartwood is calligraphy - the dance, on a tiny stage, of other solitary travellers, through uninhabited country and against It is true that typographer’s tools are presently changing with the grain of the land, crossing common thoroughfares in the considerable force and speed, but this is not a manual in the use silence before dawn. The subject of this book is not typographic of any particular typesetting system or medium. I suppose that solitude, but the old, well- travelled roads at the core of the most readers of this book will set most of their type in digital tradition: paths that each of us is free to follow or not, and to form, using computers, but I have no preconceptions about which enter and leave when we choose if only we know the paths are brands of computers, or which versions of which proprietary there and have a sense of where they lead.That freedom is denied software, they may use. The essential elements of style have us if the tradition is concealed or left for dead. Originality is more to do with the goals the living, speaking hand - and its roots everywhere, but much originality is blocked if the way back to reach into living soil, though its branches may be hung each earlier discoveries is cut or overgrown. If you use this book as a year with new machines. So long as the root lives, typography guide, by all means leave the road when you wish. That is pre- remains a source of true delight, true knowledge, true surprise.

Ubiquitous

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

By Estefany Garibaldi

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 something 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.

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,6and 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 Writing systems vary, but a good page is not hard to learn to all where there are no shared desires and directions. A typographer recognize, whether it comes from Tang Dynasty China, The determined to forge new routes must move, like other solitary Egyptian New Kingdom typographers set for themselves than travellers, through uninhabited country and against the grain of with the mutable or Renaissance Italy. The principles that unite the land, crossing common thoroughfares these distant schools of design are based in the silence before dawn. The subject of the structure and scale of the human “Typography is the craft of on this book is not typographic solitude, but body - the eye, the hand, and the forearm in endowing human language particular - and on the invisible but no less the old, well- travelled roads at the core of the tradition: paths that each of us is free to no less demanding, no less sensuous with a durable visual form, real, follow or not, and to enter and leave when anatomy of the human mind. I don’t like we choose if only we know the paths are and thus with an independent to call these principles universals, because there and have a sense of where they lead. they are largely unique to our species. Dogs existence.”

That freedom is denied us if the tradition and ants, for example, read and write by is concealed or left for dead. Originality more chemical means. But the underlying is everywhere, but much originality is principles of typography are, at any rate, blocked if the way back to earlier discoveries is cut or overgrown. stable enough to weather any number of human fashions and fads.

If you use this book as a guide, by all means leave the road when Typography is the craft of endowing human language with a you wish. That is pre- cisely the use of a road: to reach individually durable visual form, and thus with an independent existence. Its chosen points of departure. By all means break the rules, and break heartwood is calligraphy - the dance, on a tiny stage, of them beautifully, deliberately, and well. That is one of the ends for It is true that typographer’s tools are presently changing with which they exist. considerable force and speed, but this is not a manual in the use of Letterforms change constantly, yet differ very little, because they any particular typesetting system or medium. I suppose that most are alive. The principles of typographic clarity have also scarcely readers of this book will set most of their type in digital form, altered since the second half of the fifteenth century, when the first using computers, but I have no preconceptions about which brands books were printed in roman type. Indeed, most of the principles of computers, or which versions of which proprietary software, of legibility and design explored in this book were known and they may use. The essential elements of style have more to do used by Egyptian scribes writing hieratic script with reed pens on with the goals the living, speaking hand - and its roots reach into papyrus in 1000 B.C. Samples of their work sit now in museums living soil, though its branches may be hung each year with new in Cairo, London and New York, still lively, subtle, and perfectly machines. So long as the root lives, typography remains a source legible thirty centuries after they were made. of true delight, true knowledge, true surprise.

Logo Design

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Report on

Type

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V

ictor Moscoso, born 1936 in Oleiros, Galicia, Spain, is a SpanishAmerican artist best known for producing psychedelic rock posters, advertisements, and underground comix in San Francisco during the 1960s and 1970s. He was the first of the rock poster artists of the 1960s era with formal academic training and experience.

He was the first of the rock poster artists to use photographic collage in many of his posters fter studying art at Cooper Union in New York City and at Yale University, Moscoso moved to San Francisco in 1959. There, he attended the San Francisco Art Institute, where he eventually became an instructor.

Moscoso’s use of vibrating colors was influenced by painter Josef Albers, one of his teachers at Yale.

By 1968, Moscoso was doing work for underground comix, for such titles as Yellow Dog, Jiz Comics, Snatch Comics, El Perfecto Comics, and Zap Comix. As one of the Zap artists, his psychedelic work once again received international attention.

His comics appeared in every issue of Zap from 1968 until the title’s final issue in 2014; he also illustrated the covers for Zap #s 4, 10, and 13.

Moscoso’s comix work is notable for its repetitive framing and reliance on an eight-panel grid. The subjects of his comics in Zap are often classic characters like Mickey Mouse, Donald Duck, Krazy Kat, Mr. Peanut, Bugs Bunny and Winsor McCay’s Little Nemo.

“Sex, Rock ‘n’ Roll, and Optical Illusions.”

Professional success came in the form of the psychedelic rock and roll poster art created for San Francisco’s dance halls and clubs. Moscoso’s posters for the Family Dog dance-concerts at the Avalon Ballroom and his Neon Rose posters for the Matrix resulted in international attention during the 1967 Summer of Love. Moscoso’s poster work includes album covers for musicians such as Jerry Garcia, Bob Weir, Herbie Hancock, Jed Davis, and David Grisman.

In 1977, Moscoso designed radio station KMEL’s mascot: a camel wearing headphones.

Moscoso has also created art for use on T-shirts, billboards and animated commercials for radio stations, for which he received two Clio awards. In addition, he was given an Inkpot Award in 1979.

Moscoso was a 2018 AIGA Medalist.

In 1979, the French publisher Futuropolis published Moscoso Comix #1, a 52-page collection (which was republished in English 1989). Sex, Rock ‘N’ Roll, & Optical Illusions, a comprehensive collection of Moscoso’s poster and comics work, was published by Fantagraphics in 2006, featuring introductions by Steve Heller and Milton Glaser.

Pop!

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THE MUSUEM OF MODERN T YPOGRAPHY PRESENTS

VICTOR MOSCOSO A PSYCHEDLIC FINE ARTIST 9.1.2018

Poster Design

800.624.1200 www . momt . org

919 S outh g rand a venue L oS a ngeLeS . Ca 90015

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Museum of Modern Typography

THROUGH

9.30.2018

Titles:

Big Caslon

Fonts Used

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Body Copy:

Helvetica Neue MEDIUM