Typography
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Portfolio: The Art of typography
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Logo & Buisness Card
My Definition of Typography
Fonts Used
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Typography terms
Character Studies A
Character Studies T
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Character Studies @
Character Studies &
Logo Design
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Ubiquitous Type
Brochure (Front)
Brochure (Back)
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28-33
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Typographer Bio
Sketchbook
36-46 Pop
Poster
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Portfolio: The Art of typography
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Portfolio: The Art of typography
Arial Avenir Next Baskerville Bodoni Charter Cloister Black Densmore Futura Gill Sans Helvetica Neue Impact Kefa Krungthep Minion Pro Riesling Silom Times New Roman
A
Drop Cap
drop cap is a decorative element typically used in documents at the start of a section or chapter. It’s a large capital letter at the beginning or a paragraph or text block that has the depth of two or more lines of normal text.
Calligraphy Calligraphy (from Greek: καλλιγραφία) is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments. A contemporary calligraphic practice can be defined as, “the art of giving form to signs in an expressive, harmonious, and skillful manner
Tracking
Tr a c k i n g i s v e r y s i m i l a r to kerning in that it is the spacing between individual characters, but tracking is the space between groups of letters rather than individual l e t t e r s . Tr a c k i n g a f f e c t s t h e overall character density of t h e c o p y.
Cursive
Cursive 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. The writing style can be further divided as “looped”, “italic”, or “connected”.
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Typog Ter Egyptian Font
While there was no relationship between Egyptian writing systems and slab serif types, either shrewd marketing or honest confusion led to slab serifs often being called Egyptians.
Hairline Rule
“The thinnest rule that can be printed, generally considered to be less than one point or 1/72” wide.”
Blackletter
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 was used for the German language until the 20th century. Fraktur is a notable script of this type, and sometimes the entire group of Blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes referred to as Old English, but it is not to be confused with the Old English (or Anglo-Saxon) language, which predates blackletter by many centuries, and was written in the insular script, or in Futhorc runes before that.
Ser
In typography, a serif attached to the end of or symbol.
Liga
Æ ligature occurs wh
graphemes or letters a glyph. An example is t used in English, in wh e are joined.
Display
large or eye-catching ings or advertisement
Dingb
Dingbat (sometimes m known as a printer’s o character) is an ornam or spacer used in type employed for the crea The term continues to computer industry to have symbols and sha designated for alphab characters.
graphy rms
rif
f is a small line f a stroke in a letter
ature
here two or more are joined as a single the character æ as hich the letters a and
y Type
type used for headts.
bat•
more formally ornament or printer’s ment, character, esetting, often ation of box frames. o be used in the describe fonts that apes in the positions betical or numeric
Wood Type
Raised Cap
Raised Caps are simply larger letters at the start of the paragraph. They usually share the same baseline as the first or second line of the text.
Script
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.
Didone
Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: Narrow and unbracketed (hairline) serifs. (The serifs have a constant width along their length.) Vertical orientation of weight axes. (The vertical strokes of letters are thick.) Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) An unornamented, “modern” appearance.
Wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. 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.
Distressed A distressed font has intentional flaws in the letters.
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, which is normal in Latin-alphabet writing and especially printing, the horizontal lines are the thickest.
Em-Dash
The em dash puts a nice pause in the text—and it is underused in professional writing. Don’t use a slash ( / ) where an en dash is correct.
½Fraction¾
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.
The Letter A
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.
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Baskerville
is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England and cut into metal by John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called oldstyle typefaces of the period, especially those of his most eminent contemporary, William Caslon
The Letter t
P
hoenicians and other Semitic tribes used a variety of crossed forms to represent the letter they called “taw.” This letter, one of the first recorded, served two purposes: it represented the ‘t’ sound, and it provided a mark for signing documents that could be used by those who could not write their names. When the Greeks adopted the taw for their alphabet ten centuries later, they altered it slightly until it looked pretty much like what our T looks like today. The Greeks called this letter “tau.” The tau was passed on, virtually unchanged, from the Greeks to the Etruscans, and finally to the Romans.
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• Gill Sans • Eric Gill, the man responsible for designing Gill Sans, was a versatile and brilliant talent in the early part of the last century. He was active, prolific and successful in many disciplines from wood engraving to sculpture and calligraphy. In the 1920s, he began an association with Monotype and, in 1928, his first typeface, Gill Sans, was released. This was followed by the Perpetua® and Joanna® designs.
The @ Symbol
T
he at symbol has undergone quite a transformation in usage since the commercialization of the Web. Originally referred to as the commercial “at” sign, it was (and still can be) used to indicate pricing, either “at the rate of” or “each at,” as in 12 oranges @ 50¢ (with each being understood). But in the modern world, the symbol’s primary function is in email addresses, such as jane@gmail. com, where it stands for “at,” directly preceding the domain name. The @ has also been adopted on some social media web sites to direct a message to a specific user or group.
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Onyx The Onyx font was cut by American Type Founders in 1937 and by Monotype in 1955. Onyx is one of the many variants on the nineteenth century fat face theme. A highly condensed and highly contrasted design where readability takes second place to style. This in no way detracts from its usefulness in carefully chosen applications, where it can create a feeling of refined and measured elegance. Use Onyx in large sizes where space is at a premium.
T
o f fl o fi c e D o C u T b s
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History of the Ampersand
T
he ampersand can be traced back to the 1st century A.D. and the Old Roman cursive, in which the letters E and T occasionally were written together to form a ligature. In the later and more flowing New Roman Cursive, ligatures of all kinds were extremely common; figures 2 and 3 from the middle of 4th century are both examples of how the et-ligature could look in this script. During the following development of the Latin script that led up to the Carolingian minuscule (9th century) the use of ligatures in general diminished. The et-ligature, however, continued to be used and gradually became more stylized and less revealing of its origin
Bodoni
Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni’s typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville— increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.
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Jordan Helvetica Neue is a reworking of the typeface with a more structurally unified set of heights and widths. Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers. Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts including 9 weights in 3 widths (8, 9, 8 in normal, condensed, extended widths respectively), and an outline
font based on Helvetica 75 Bold Outline. Linotype distributes Neue Helvetica on CD. Helvetica Neue also comes in variants for Central European and Cyrillic text. It was developed at D. Stempel AG, a Linotype subsidiary. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was RenĂŠ Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983.
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estiny Jewel was created in 2017 by Destiny Jewel Garcia herself. She has grown the company into what it is today. Destiny Jewel is an independent company that focuses on movie and poster designs. We have a variety of loyal customers and we are determined to meet any of your needs.
Graphic Design Services
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Sample
Destiny Jewel Designs seamlessly combines expertise in brand strategy, identity, digital, retail, environmental, product and service design to define and connect every aspect of a brand experience. We can start with a single touch point, or address holistic journeys for organizational and consumer brands, with a focus on delivering measurable business growth. Our work is hypothesisdriven, evidence-based and powered by rapid prototyping to help clients test, improve and deliver change to stay ahead of the market.
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dezzy3
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325 W Los An
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GIAMBATTISTA BODONI was an Italian typographer, type-designer, compositor, printer and publisher in Parma. He first took the type-designs of Pierre Simon Fournier as his exemplars, but afterwards became an admirer of the more modelled types of John Baskerville; and he and Firmin Didot evolved a style of type called ‘New Face’, in which the letters are cut in such a way as to produce a strong contrast between the thick and thin parts of their body. Bodoni designed many type-faces, each one in a large range of type sizes. He is even more admired as a compositor than as a typedesigner, as the large range of sizes which he cut enabled him to compose his pages with the greatest possible
subtlety of spacing. Like Baskerville, he sets off his texts with wide margins and uses little or no illustrations or decorations. There have been several modern revivals of his type-faces, all called Bodoni. They are often used as display faces. Bodoni was also part of the modern 18th century fashion that grew for faces with a stronger contrast between the thick and thins, unbracketed serifs, and strong vertical stress, whereas all the older type faces became to be known as old style. Giamattista Bodoni characterized the font by its simplicity and rejected oldstyle letters by introducing clear and simple type.
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pop issue one visual project volume seven in this issue: andy warhol roy lichtenstein jasper johns larry rivers frank o’ hara
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jasper johns
andy warhol
larry rivers
frank o’ hara
volume seven in this issue: visual project issue one pop
roy lichtenstein
pop issue one visual project volume seven in this issue:
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andy warhol jasper johns roy lichtenstein larry rivers frank o’ hara
pop
visual project
issue one
volume seven in this issue:
roy lichtenstein andy warhol jasper johns
larry rivers
frank o’ hara
roy lichtenstein
jasper johns
andy warhol
larry rivers
frank o’ hara
pop issue one visual project volume seven in this issue:
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pop issue one visual project
volume seven
in this issue:
roy lichtenstein andy warhol jasper johns larry rivers frank o’ hara
andy warhol larry rivers larry rivers
roy roy lichtenstein lichtenstein frank o’ hara jasper johns jasper johns pop issue one
volume seven visual project
in this issue:
Portfolio: The Art of typography
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issue one
in this issue: roy lichtenstein andy warhol larry rivers jasper johns frank o’ hara
issue one in this issue:
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frank o’ hara larry rivers jasper johns andy warhol roy lichtenstein