Winter 2019
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Typ o
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Table of contents
6 8 10 20 26 Personal Logo
introduction
Character studies
sketches
Typographical terms
30 38 54 58 78 logo development
Museum report
ubiquitous type
pop project
fonts used
typograph
1
2-3
4-5
12-13
14-15
16-17
24-25
26-27
28-29
36-37
38-39
40-41
48-49
50-51
52-53
60-61
62-63
64-65
72-73
74-75
76-77
6-7
8-9
10-11
18-19
20-21
22-23
30-31
32-33
34-35
42-43
44-45
46-47
54-55
56-57
58-59
66-67
68-69
70-71
6 ll o
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My name is Lucia Gonzalez, I am from Monterrey Mexico. In my typographical portfolio you will see work from my Typography class from 10 weeks. In this course, I designed my personal logo, designed different spreads, created the logo for a museum and an experimental project called POP! we had new rules each week that we had to apply.
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Character Study
a
No 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.
In typography, a serif is a small line or stroke regularly attach the end of a larger stroke in a letter or symbol within a parti font or family of fonts. A typeface or “font family” makin of serifs is called a serif typeface (or serifed typeface), a typeface that does not include them is a sans-serif one. S typography sources refer to sans-serif typefaces as “grotes (in German, “grotesk”) or “Gothic”,and serif typefaces as “rom
hed to icular ng use and a Some sque” man”.
Character Study
g
Generally 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. 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 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. Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians. 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.’ The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered
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Character Study
Z
The twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet. They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning. Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface). The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the Romans conquered the Greeks. In order to write these words a Z was required, and so, several centuries after it was first banished from the Roman alphabet, the Z was allowed to return. However, because the letter was not a part of the traditional Roman language, the Z was relegated to the last spot in the alphabetical hierarchy.
Z
Op
tim
a
Z
Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, Germany. Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by classical Roman capitals and the stonecarving on Renaissanceperiod tombstones Zapf saw in Florence on a 1950 holiday to Italy. Zapf intended Optima to be a typeface that could serve for both body text and titling. To prove its versatility, Zapf set his entire book About Alphabets in the regular weight.[2] Zapf retained an interest in the design, collaborating on variants and expansions into his eighties.
!
Character Study
G
raphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point. The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation”or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment. The exclamation mark did not have its own dedicated key on standard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe.In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as “bang”,perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired, although the nickname probably emerged from letterpress printing. This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.
Gill Sans
Gill Sans is a sans-serif typefa Eric Gill and released by the of Monotype from 1928 onw Sans is based on Edward Joh “Underground Alphabet”, the of London Underground. Gil had assisted Johnston in its e stages. In 1926, Douglas Clev printer-publisher, opened a b Bristol, and Gill painted a fas for him in sans-serif capitals. sketched an alphabet for Cle guide for him to use for futu announcements. By this time a prominent stonemason, art of lettering in his own right a work on creating typeface de
ace designed by British branch wards. Gill hnston’s 1916 e corporate font ll as a young artist early development verdon, a young bookshop in scia for the shop In addition, Gill everdon as a ure notices and e Gill had become tist and creator and had begun to esigns.
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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. It continued to be used for the Danish language until 1875, and for German and Latvian BLACKLETTER until the 20th century.
In typography, 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.
TRACKING
In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image.
The art of producing decorative handwriting or lettering with a pen or brush.
CALLIGRAPHY
HAIRLINE RULE 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.
CURSIVE
EGYPTIAN FONT
A slight projection finishing off a stroke of a letter in certain typefaces.
SERIF
A large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.
DROP CAP
DINGBAT
DECORATIVE Large or eye-catching type used for headings or advertisements.
DISPLAY TYPE
DIDONE
TYPOGRAPHICAL TERMS Heavy thick-stroked typeface with rounded serifs. The absence of sharp corners made it very well suited to wood type.
In general, a dingbat is a character, spacer, or ornament used in typesetting. They are often used to create a box frame.
WOOD TYPE 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.
T
Not every distressed face looks natural. Some are designed to look grungy and deconstructed, and some are positively spooky, with creepy, drippy letterforms.
DISTRESSED
Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type.
REVERSED Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.)
FRACTION
AMPERSAND
RAISED CAP Process of printing light colored or white text on a dark or black background, used for emphasis or producing a visual impact. Reverse text is not suitable for reading type (12 points or less) because of its poor legibility even in normal lighting conditions. The typographic symbol used to designate the word and (& ) is the Latin symbol for et which means and. In many fonts the ampersand looks much like a cursive S or a curvy plus sign but in other fonts you can almost see the word Et in the design of the ampersand.
Fractions can be a regularly occurring element in text. They are routinely used in text for measurements and dimensions. Fractions can be represented in several ways: spelled out, using decimals, by diagonal or slashed fractions, by stacked or nut fractions, or by horizontal fractions. A design style in which the first. capital letter of a paragraph is set in a large point size and aligned with the baseline of the first line of text. Compare to a drop cap. Reverse type, reverse text Type that is. printed white on black, or light-colored against a dark background.
Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or ĂŚ diphthong ligature.
LIGATURE
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MOCT
MUSEUM OF CONTEMPORARY TYPOGRAPHY
LG LUCIA GONZALEZ GRAPHIC DESIGNER
L G
LUCIA GONZALEZ GRAPHIC
DESIGNER
LG graphic designer
Lucia Gonzalez
LUCIA GONZALEZ GRAPHIC DESIGNER
38
M M
US EU RE PO
RT
The Museum of Contemporary Typography presents the work of
FREDERIC W.
oudy
MOCT
MUSEUM OF CONTEMPORARY TYPOGRAPHY
1
Frederic W. Goudy Frederic W. Goudy was born in March 8, 1865 in Bloomington, Illinois. Goudy died in May 11, 1947 in Marlborough, New York. Goudy was an American printer, artist and type designer. From 1915 to 1940 Goudy was very well known due to his success with his typefaces. Also, he gave lectures and speeches about “the great love he had for letter forms�. He created typefaces such as Copperplate Gothic, Goudy Old Style and Kennerley. Goudy most famous typefaces are Copperplate Gothic and Goudy Old Style. Goudy was the third type designer to produce metal type in the United States. He had ninety
faces that were cut and cast and many other designs. Early on his career, Goudy also worked on hand-lettering projects. During his career he spent a lot of time developing old-style serifs. Goudy was influenced by the Italian Renaissance and calligraphy. He would avoid designing sansserif. However, Goudy created the sans-serif Copperplate Gothic. Goudy also developed typefaces that were influenced by blackletter medieval manuscripts. By the end of his career, Goudy had 122 typefaces and 59 literary works were published. Goudy and his wife Bertha work together on printing projects.
2
FG 3
G
Goudy Old Style G
oudy Old Style was created by Frederic W. Goudy in 1915. 85% of all the typography produce in the United States was Goudy Old Style. This typeface works perfectly for both large bodies of text and display. Goudy Old Style is a very populat typeface. It is well known for it’s diamond-shaped dots on the i, j and all punctuation marks.
4
1400
Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.
1470
Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.
1501
1734
1757
1780
a C B D
Italics begin to be used as way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing.
William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.
John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.
Firmin Didot and Giambattista Bodoni created the first ‘modern’ Roman typefaces (Didot, and Bodoni). The contras were more extreme than ever before, an created a very cool, fresh look.
d sts
nd
Type is everywhere – street signs, magazines, the web. Every typeface
you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place.
TERMINOLOGY EXPLAINED
What’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used. Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font. Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:
1815
1816
1920’s
A Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.
William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces. During this time, type exploded, and many, many variations were being created to accommodate advertising.
Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.
1957
contemporary
About the Museum
T
he Museum of Contemporary Typography is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The Broad is home to more than 2,000 works of art in the Broad collection, which is one of the world’s most prominent collections of postwar and contemporary art. The 120,000-square-foot building features two floors of gallery space and is the headquarters of The MOCT Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The MOCT has welcomed more than 2.5 million visitors. Generous support is provided by Leading Partner East West Bank.
Colophon /ab Copperplate Goudy Old Style PT Serif Adobe Caslon Pro Regular Optima
MO
Gill Sans
MUSEUM OF CONTEMPO
Museum of Contem
21 S Grand Ave, Lo
www.themuseum
bout this brochure
OCT
ORARY TYPOGRAPHY
mporary Typography
os Angeles, CA 90012
mofmoderntype.org
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“Typography is the craft of endowing human language with a durable visual form, and thus with an independen existence.� A report on public typography
The presence of typography both good and b can be seen everywhere.
T
By Milton Glaser
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 hid- den. 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. en 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, en 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?
nt
bad,
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 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 fiteenth 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 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.
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p!
po pr o je ct
WEEK 1
pop! visual project volume eleven in this issue: andy warhol lebron james sam smith kristen stewart lawerence ferlinghetti mac miller hayley williams
WEEK 2
pop! visual project volume eleven in this issue: andy warhol
lebron james sam smith kristen stewart lawrence ferlinghetti mac miller hayley williams
WEEK 3
kristen stewart andy warhol mac miller sam smith lebron james
hayley williams
lawrence ferlinghetti
volume eleven in this issue: pop!
visual project
WEEK 4
andy warhol
lebron james
hayley williams
sam smith
lawrence ferlinghetti
mac miller
pop!
kristen stewart
in this issue: visual project
volume eleven
WEEK 5
sam smith lebron james mac miller pop!
lawrence ferlinghetti visual project
andy warhol in this issue: kristen stewart
hayley williams
WEEK 6
andy warhol lebron james sam smith kristen stewart lawrence ferlinghetti mac miller pop! visual project volume eleven in this issue:
WEEK 7
andy warhol lebron james sam smith kristen stewart lawrence ferlinghetti
andy warhol lebron james sam smith kristen stewart lawrence ferlinghetti
pop! visual project volume eleven in this issue:
WEEK 8
lawrence ferlinghetti lawrence ferlinghetti kristen stewart kristen stewart lebron james lebron james andy warhol andy warhol volume eleven volume eleven visual project visual project j in this issue: ue: pop! in this issue: pop!! sam smith mac miller sam smith mac miller
WEEK 9
lebron james sam smith sam smith iin this issue: andy warhol mac miller pop! volume eleven
visual project
pop! pp pop! pp pop! pop! pop!
lawrence ferlinghetti
visual il project jt andy warhol sam
smith
in this issue: mac miller kristen stewart sam smith pop!
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Fashonism Finland Rounded Goudy Old Style PRISM SignPainter Summer