Typography portfoliopages mariellehartmark

Marielle Hartmark’s

Spring

Through my work of typography and graphic design, I try to incorporate a little bit of each style that I enjoy. This portfolio, to me, is a mixture of retro (60s/70s) colors and designs, a long with primarily block-like, san-sarif fonts.

I added grainy texture over all the spreads to give it an older feel. Type is something you can use to comunicate a message verbally and artistically, and that is what I plan to do with my work. I want each design I create to give you the vibe that is intended.

TABLE OF CONTENTS

Fonts Used..................................................6 Typographical Terms..........................8 Character Studys.................................10 Typographer Biography................18 Logo Design............................................20 Ubiquitous Type Layout................22 Sketch Book.............................................24 Poster Design...........................................28 Pop!................................................................32

COPPERPLATE

Furura

Lie To Me

Seravek

Fugaz One Cicle Fina Bebas Gist

Ostrich Sans Cocktail Shaker Roboto The Bold Font Lemon/Milk Times New roman Helvetica Neue Gill Sans

Baskerville

Edition

dingbata 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. The term continues to be used in the computer industry to describe fonts that have symbols and shapes in the positions designated for alphabetical or numeric characters.

Fraction |¾ Fraction Fonts are a handy way for Mac-based Desktop Publishers to add the most commonly used fractions to their documents. Fraction Fonts include the following fractions only: 1/2, 1/3, 1/4, 1/5, 1/6, 1/7, 1/8, 1/9, 2/3, 3/4, 2/5, 3/5, 4/5, 5/6, 2/7, 3/7, 4/7, 5/7, 6/7, 3/8, 5/8 & 7/8, each accessible with a single keystroke. Fraction Fonts come in diagonal and vertical styles. A Keyboard Layout Chart is included for easy reference.

cursive Cursive is a style of writing in which all the letters in a word are connected. It’s also known as script or longhand. When the third-grade students learned cursive writing, they were excited to find that they could write entire words without lifting their pencil from the paper.

Typographical Terms

Wood type | Ligature fl

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 æ diphthong ligature.

Other ligatures are primarily to make type more attractive on the page such as the fl and fi ligatures. In most cases, a ligature is only available in extended characters sets or special expert sets of nonOpenType fonts. Newer OpenType fonts frequently have the extended characters included but not all fonts contain all possible ligatures.

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. 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.

decorative

Type fonts such as Avant Garde, Caesar, Garmond, that are usually larger than text fonts and give distinctive personality to a printed or displayed (on the computer monitor) publication.

EM DASH — An em-dash is the longest of the three, and is used to indicate a break in thought — as illustrated in this sentence. It can also be used to separate a thought within a sentence — such as this one — which would then require an emdash at the beginning and the end of the phrase.

Decorative and display fonts became popular in the 19th century and were used extensively on posters and advertisements. This style of type and lettering could be artistic and eye-catching in a way that wasn’t considered previously. William Morris launched the Arts and Crafts movement and as part of the experimentation and innovation of the time, developed the Troy typeface.

You might have seen it. That attention demanding large capital letter at the top of a block of text.That’s a drop cap.

A drop cap is the first letter of a paragraph and it is of much bigger size than the regular text that follows and is also dubbed as an initial. Drop caps have existed for more than 2,000 years.

serif In typography, a serif is a small line attached to the end of a stroke in a letter or symbol.

A typeface with serifs is called a serif typeface (or serifed typeface). A typeface without serifs is called sans-serif or sans serif, from the French sans, meaning “without”. Some typography sources refer to serif typefaces as “Roman”.

[reversed] [type] 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. Also called reverse printing.

DIDONE Didone typefaces (also known as Moderns) are a particularly classy type of font that is characterized by heavy contrast between the thick and thin portions (the vertical parts are thick) and typically very thin, unbracketed serifs.

They’re a lot like slab serifs that want to be upscale and fancy.

calligraphy Egyptian In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, blocklike serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier).

Slab serifs were invented in and most popular during the nineteenth century.

Blackletter Blackletter 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.

hairline rule In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths.

Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device. Hair or hairline is also a type of serif, the minimum thickness for a serif. It is also Known As: hair stroke.

The Oxford Dictionary defines calligraphy as “decorative handwriting or handwritten lettering”, which is how many people perceive it.

Even though calligraphy, lettering and typography all use the same principles for spacing, consistency, weight and contrast to determine what is “good”, they are all distinct disciplines.

t r a c k i n g Tracking is often confused for kerning, but the concept is a little different. Tracking involves adjusting the spacing throughout the entire word. Once you’ve determined the right spacing between each letter, tracking can be used, with great restraint, to change the spacing equally between every letter at once.

Tracking is generally used to fill a space that’s larger or smaller than currently suits the type’s parameters or to make a single word seem airy and impressive.

Distressed Distressed fonts can be any kind of typeface (Cursive, Sarif, Sanssarif, etc.), but what sets it apart is that the type is textured, looking old and worn out.

DISPLAY TYPE Type fonts such as Avant Garde, Caesar, Garmond, that are usually larger than text fonts and give distinctive personality to a printed or displayed (on the computer monitor) publication.

Character Studies | A

HISTORY OF THE LETTER ‘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.)

Ox Head

Phoenician Alef

Greek Alpha

Later Greek Alpha

Roman Ah

about this font ‘Futura’: A a geometric sans-serif typeface designed

by Paul Renner in 1927. “Futura” is a registered trademark of BaurTypes. The first drawings for Futura were done in 1924. The typeface was finally released in 1927 in light (Mager), regular (Halbfett), and bold (Fett) weights. The family was expanded in 1930 to include a semi-bold weight, a bold condensed weight, as well as oblique versions for the light and regular (medium) weights. A book weight was added in 1932. Subsequently, the family was expanded by designers other than Renner to over twenty faces of varying weights and widths.

f o y r o t s i H

Character Studies | T

H i s to ry of the

letter ‘T’: The letter ‘T’ is generally one of the less problematic ones. It may be tall with the crossbar partway up the vertical, or it may be short with a broad crossbar at the top, but it generally does not display too many eccentric forms. In the document hands and later cursive book hands, T tends to retain the short, wide form with a curling vertical. Even when the vertical extends above the crossbar, the letter remains short. By the fifteenth and sixteenth centuries, the more familar tall and narrow form of T appears. Because the crossbar of the short ‘t’ tends to be assymetrical, it can sometimes be confused with C. As C and T were sometimes transposed, or used interchangeably, in medieval spelling, this can lead to some unresolvable discussions. Just make a decision and stick to it, unless it leads to an earth shattering misreading of the meaning.

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Etruscan T

Greek Tau

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C o p p e r p l a t e The original Copperplate Gothic was designed by Frederic W. Goudy in the early 1900s, and the successive weights were drawn by Clarence C. Marder for American Type Founders.

It’s a wide, squarish, monotone gothic (sans serif) with the addition of small hairline serifs, reminiscent of the edges on letters that were engraved in copperplate, hence the name. This typeface was popular in the mid 20th century for stationery and business cards, especially for serious business professionals like doctors, lawyers, and bankers.

Today, Copperplate Gothic enjoys a revival in corporate and advertising design, still imparting a look of serious business, both understated and posh. Despite the lack of a lowercase, Copperplate Gothic is legible at small sizes because of its open and wide shapes. There are nine weights and styles; the first part of the numbering system (29-33) relates to the amount of width and weight, and the second part (AB-BC) relates to the height of the caps and small caps.

Character Studies |

@

H i s t o ry

Called the “snail” by Italians and the “monkey tail” by the Dutch, @ is the sine qua non of electronic communication, thanks to e-mail addresses and Twitter handles. @ has even been inducted into the permanent collection of the Museum of Modern Art, which cited its modern use as an example of “elegance, economy, intellectual transparency, and a sense of the possible future directions that are embedded in the arts of our time.”

The origin of the symbol itself, one of the most graceful characters on the keyboard, is something of a mystery.

One theory is that medieval monks, looking for shortcuts while copying manuscripts, converted the Latin word for “toward”—ad—to “a” with the back part of the “d” as a tail.

Or it came from the French word for “at”—à—and scribes, striving for efficiency, swept the nib of the pen around the top and side. Or the symbol evolved from an abbreviation of “each at”—the “a” being encased by an “e.” The first documented use was in 1536, in a letter by Francesco Lapi, a Florentine merchant, who used @ to denote units of wine called amphorae, which were shipped in large clay jars.

of the about the Font:

Ostrich Sans

Three years ago, designer Tyler Finck posted a screenshot of a work-in-progress typeface on Dribble requesting name ideas. Micah Rich, of The League of Moveable Type, was first to comment and suggested Ostrich Sans. “I’ve only ever seen an ostrich in a zoo, but their elongated necks move in ways that share characteristics with the curvy glyphs of my typeface,” Finck says. “The harder edges and corners on some characters make for a less literal translation, but I loved the name, so I kept it.” Some other nifty fonts in Finck’s repertoire include Lickety Split, a font made with fat crayons on index cards, and Uncombined, a father/son collaboration.

Character Studies | J

History of The Letter:

The letter j is rather different to those discussed so far, as it did not exist in Latin and, of course, a great deal of the medieval literate tradition is in Latin.

This does need a little explanation.

Old textbooks on the Latin language or paleography will inform you that Classical Latin had no letter for consonantal i. The use of j for this purpose in Latin textbooks predates my learning of the language at school, but contrary

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to popular belief that was some time after the medieval era. Nonetheless, by that time Latin scholars had come to the astonishing conclusion that if the Latin alphabet had no consonantal i, perhaps the spoken language actually didn’t have one either. After all, if the founders of modern western literacy had needed a symbol for a sound, no doubt they could have managed to come up with one.

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EN N E R who is he?

Paul Renner, born in Wernigerode, Germany on August 9, 1878, was a graphic designer, type designer, painter, and teacher, but is most famous for designing the typeface Futura. Raised Protestant, he developed a German sense of leadership, responsibility and duty. He received his formal education from a secondary school, but years later opted to study arts at several different academies. Renner took a stand against Nazi movement and overtly condemned Nazi’s cultural policy through his book Kulturbolschewismus (Cultural Bolshevism), published in 1932, but later got arrested for it when Nazi rose to power.

After going into a period of internal exile after his arrest, Renner aspired to communicate his opinion of culture and tried to influence it through his writing, teaching and designing. Being a voracious reader, Renner’s ideals were influenced by prominent figures, such as Nietzsche, Goethe, Kant and Schiller, and began writing from 1908 onwards and prolifically produced work on design and typography, most popular: Die Kunst der Typographie (The Art of Typography) and Typografie als Kunst (Typography as Art).

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U B I Q U I TOUS T YPE

UBIQUITOUS TYPE, 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 adver­ tis­ing artist for the Times, who drew the let­ter­ forms. Even when new, Times New Roman had its crit­ics. In his typo­graphic mem­oir, A Tally of Types, Mori­son good-naturedly imag­ined what William Mor­ris (respon­si­ble for the open­ ing illus­tra­tion in page layout) might have said about it: “As a new face it should, by the grace of God and the art of man, have been broad and open, gen­er­ous and ample; instead, by the vice of Mam­mon and the mis­ery of the machine, it is big­oted and nar­row, mean and puri­tan.”

Because it was used in a daily news­pa­per, the new font quickly became pop­ul­ar among print­ers of the day. In the decades since, type­ set­ting devices have evolved, but Times New Roman has always been one of the first fonts avail­able for each new device (includ­ing per­ sonal com­put­ers). This, in turn, has only in­ creased its reach.

Objec­tively, there’s noth­ing wrong with Times New Roman. It was designed for a news­pa­per, so it’s a bit nar­rower than most text fonts— espe­cially the bold style. (News­pa­pers pre­fer nar­row fonts because they fit more text per line.) The italic is mediocre. But those aren’t fatal flaws. Times New Roman is a work­horse font that’s been suc­cess­ful for a rea­son.

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pop visual project issue one

in this issue:

andy worhol roy lichenstein jasper johns larry rivers frank o’hara

volume seven

volume seven in this issue: andy worhol roy lichenstein jasper johns larry rivers frank o’hara

issue one

pop visual project

pop

visual project

issue one volume seven in this issue:

andy worhol roy lichenstein jasper johns larry rivers frank o’hara

visual project pop

in this issue: andy warhol frank o’hara larry rivers jasper johns roy lichenstein

issue one volume seven

visual project

pop in this issue: issue one volume seven

andy warhol frank o’hara larry rivers jasper johns roy lichenstein

p po visual project issue one volume seven in this issue: andy worhol roy lichenstein jasper johns larry rivers frank o’hara

pop

visual project

issue one volume seven in this issue:

visual project volume seven

issue one in this issue: andy warhol roy lichenstein jasper johns larry rivers frank o’hara

visual project issue one

pop pop pop pop pop pop volume seven

in this issue: andy worhol roy lichenstein jasper johns larry rivers frank o’hara

Thank You