T T Y y P O G R A P H Y
P P
P
O O O R R G T T R F F O O A L P L I H I O Y O O
TYPOGRAPHY FALL2015
PORTFOLIO AN EXPLORATION OF HISTORY, USAGE AND TERMINOLOGY OF TYPE AS USED IN THE GRAPHIC ARTS FASHION INSTITUTE OF DESIGN AND MERCHANDISING
vanessa
ghaffari
Vabout A N E Sme SA
GHAFFARI
VISUAL DESIGNER | VANS.GHAFFARI@GMAIL.COM | 661.670.5
I am a graphic designer specializing in conceptualizing, branding, computer rendering and logo design. As a designer, I seek to fill the world with color and energy by creating eclectic designs guided by thought and purpose. Fresh with ambition and a bold drive, I see endless possibilities in the future and is bound and determined to design for the best. Based out of Los Angeles, I recently completed a degree in Visual Communications and am currently studying Graphi Design at the Fashion Institute of Design and Merchandising, Downtown Los Angele
CONTENTS
LOGO DESIGN CALENDAR DESIGN UBIQUITUOUS TYPE CHARACTER STUDIES POSTER DESIGN POP SKETCH BOOK TYPOGRAPHICAL TERMS
LOGO DESIGN
GRAPHIC DESIGN
Helvetica Neue Didot
Graphic
gr
ap
hic
de
sig
n
Didot Hero
CALENDAR DESIGN
CHARACTER DESIGN
CHARACTER A
CHARACTER G
CHARACTER Z
In
earlier
English by
times,
the
alphabets used
children
terminated
not with Z but with & or related typographic symbols. In her 1859
novel Adam Bede, George Eliot refers to
eing followed by & when her character
Storey says, "He thought it had only been
GEOM TYPEFACE:
h off th' alphabet like; though ampusand
ne as well, for what he could see." Some
alphabets have extra letters, such as the
nnish and Swedish making Ö the last one
of the Danish and Norwegian alphabets.
an alphabet, the umlauts and the letter
ded as modifications of the vowels a/o/u,
of the letter "s," not as independent
y come after the unmodified letters in the
order. The German alphabet ends with z.
Inspired by basic geometric forms and grids, GEOM is a display typeface by São Paulo-based designer and art director Danilo Gusmão Silveira that started life as an experiment. Silveira says it's free to use "and adjust" in both commercial and personal work – just let him know how you end up using the font.
POP!
WEEK 1
pop!
visual project
issue one
volume nine in this issue: andy warhol roy lichtenstein jasper johns
larry rivers
frank o’ hara
georgia o’ keefe
WEEK 2
visual project
pop!
volume nine
issue one
andy warhol
in this issue:
jasper johns
roy lichtenstein
frank o’ hara
larry rivers
georgia o’ keefe
WEEK 5
frank o’ hara
pop!
volume nine
larry rivers in this issue: roy lichtenstein
georgia o’ keefe
visual project
issue one
andy warhol
jasper johns
jasper johns
al t u c vis oje pr
frank o’ hara
andy warhol
larry rivers volume nin e efe
’ ke o a i g geor
issue one in this issue: roy lichtenstein pop!
roy lichtenstein
hara
in this issue:
jasper johns
georgia o’ keefe
visual project
pop!
fr a n k
o’
andy warhol issue one
visual project
issue one
larry rivers
: ue iss
v
ue ro y
one
h ol
iss la
lic
te in
en s
ht
pop !
ol u m e
ct je ro
lp
is rs ir ve
y w ar
a su
th
an d
ra rry
vi
in ha
ns
o’
jasper joh
nk
ne ni
fra
issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one larry rivers
volume nine
georgia o’ keefe
in this issue:
andy warhol
roy lichtenstein jasper johns
visual project
frank o’ hara larry rivers
volume nine
georgia o’ keefe
in this issue:
andy warhol
roy lichtenstein
visual project
frank o’ hara
jasper johns
larry rivers
volume nine
georgia o’ keefe
in this issue:
andy warhol
visual project
frank o’ hara
roy lichtenstein jasper johns
larry rivers
volume nine
georgia o’ keefe
in this issue:
andy warhol
roy lichtenstein
visual project
frank o’ hara
jasper johns
visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualproject visualprojectvisualproject
andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol andy warhol
larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers larry rivers
frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara frank o’ hara
volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine volume nine
georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe georgia o’ keefe
pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!
roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein roy lichtenstein
issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one issue one
jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns jasper johns
in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue: in this issue:
TYPOGRAPHICAL TERMS
grotesque
These typefaces often have letterforms that are very similar to serif typefaces, minus the serifs.
Cursive
Kerning
adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.
Any style of penmanship in which the symbols of the language are written in a conjoined and/or flowing manner, generally for the purpose of making writing faster. 12PT RULE One point is 1/72 inch. 12 points make one pica, a unit used to measure column widths. Type sizes can also be measured in inches, millimeters, or pixels.
LIGATURE Two or more letters are joined together to form one glyph or character.
SWASH
Hairline Rule
A swash is a typographical flourish on a glyph, like an exaggerated serif.
A fine line or rule, 1/4 -point in thickness
SLAB SERIF A type of serif typeface characterized by thick, block-like serifs.
Black Letter An early, ornate, bold style of type, typically resembling Gothic.
grunge style - text looks as if it has been weathered, eroded, crumpled up, torn, smudged, overly copied, or in some other way physically stressed or aged.
Reversed
A lighter typeface on a darker background, such as white text on a black background
WOOD TYPE
Type make from wood. Formerly used for the larger display sizes more than 1 inch where the wight of the metal made casting impractical.
Calligraphy
Drop Cap rop caps are uppercase characters that are aligned to the top of a line of text rather than the baseline. Drop caps are typically used for the first character in a chapter or news article.
D
Bullet A typographic element usually used to highlight specific lines of text. • a • b • c Glyphs
Every character in a typeface, (e.g: G, $, ?, and 7), is represented by a glyph. One single type design may contain more than one glyph for each character. These are usually referred to as alternates. Dingbat ☎ Dingbat is an ornament, character or spacer used in typesetting, or sometimes more formallu known as a printer’s ornament or printer’s character Tracking Tracking refers to uniformly increasing or decreasing the horizontal spacing between a range of characters. Most often used to adjust and fine-tune overall letterspacing, tracking can create more readable, pleasing color and texture.
Elegant handwriting, or the art of producing such handwriting. Transitional The Antiqua or Old Style of type of the 16th and 17th centuries evolved into a serif typestyle
Oblique Type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted.
Serif a small line attached to the end of a stroke in a letter or symbol. A typeface with serifs is called a serif typeface.
Handlettering Lettering can be simply defined as “the art of drawing letters”. The concept is very simple: a specific combination of letter forms crafted for a single use and purpose as opposed to using previously designed letters as components, as with typography. Often lettering is hand-drawn, with pens, graphite or brushes, although some people start their work directly in Adobe Illustrator. Display type used to attract attention, usuall above 14 ponts in size
POSTER DESIGN
THE ART OF TYPE
SKETCH BOOK