FASHION INSITUTE OF DESIGN AND MERCHANDISING
Spring 2016
o P
o i l o f t r
TYPOGRAPHICAL
“An exploration of the history, usage, and terminology of type as used in graphic arts.”
Hello. My name is Weston Woods and I am studying to be a graphic designer at the Fashion Institute of Design and Merchandising.
ME ABOUT
My goal is to work in the skate boarding industry creating graphics for skateboards and clothing. I got into graphic design because of my mom, who has made a successful career in making logos and magazine spreads.
TABLE OF CONTENTS TERMS - 4 LOGO DESIGN - 6 CHARACTER STUDIES - 8 POSTER DESIGN - 11 UBIQUITOUS TYPE - 12 SKETCHBOOK - 15 NEWSLETTER - 19 POP! - 21
FONTS U S E D Avenir Century Gothic Gotham Zapfino
Grotesque
This group features the early (19th century to early 20th) sans-serif designs. Influenced by Didone serif fonts of the period and signpainting, these were often quite solid, bold designs suitable for headlines and advertisements. Many did not feature a lower case or italics, since they were not needed for such uses.
Cursive
Cursive, also known as longhand, script, handwriting, looped writing, joined-up writing, joint writing, or running writing is 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.
12 PT RULE Point size should be 10–12 points in printed documents, 15-25 pixels on the web.
Hairline Rule 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.
Slab Serif
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. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier).
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 German language until the 20th century.
Distressed David Carson, the acclaimed graphic designer who created Ray Gun magazine, is the so-called Godfather of Grunge. His method was simple, his gospel twofold: you don’t have to know the rules before breaking them, and never mistake legibility for communication.
Ree David Carson, the acclaimed graphic designer who created Ray Gun magazine, is the so-called Godfather of Grunge. His method was simple, his gospel twofold: you don’t have to know the rules before breaking them, and never mistake legibility for communication.
Wood Type Wood type is a vital part of our visual culture. Its riot of technological and typographic innovations remains as relevant as ever to modern typographic practice: whether your favorite font comes in multiple widths, or features chromatic layers, it owes a considerable debt to its wood type forebears.
Calligraphy
a script, usually cursive, although sometimes angular, produced chiefly by brush, especially Chinese, Japanese, or Arabic writing of high aesthetic value.
Transitional
The typefaces of this period are called Transitional, as they represent the initial departure from centuries of Old Style tradition and immediately predate the Modern period.
Oblique
Roman characters that slant to the right.
Kerning In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.
Ligature
In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph.
Swash
A flourish addition replacing a terminal or serif. A swash is a typographical flourish on a glyph, like an exaggerated serif. Capital swash characters, which extended to the left, were historically often used to begin sentences.
Drop Cap
A drop cap is a large capital letter at the beginning of a text block that has the depth of two or more lines of regular text. The following illustration shows your options for positioning a drop cap.
•Bullet
In typography, a bullet ( • ) is a typographical symbol or glyph used to introduce items in a list.
◄Glyph► In typography, a glyph is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing.
TYPOGRAPHY TERMS
✤❉■❇❂❁▼ 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
Tracking
n typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text.
Serif
In typography, a serif is a small line attached to the end of a stroke in a letter or symbol.
Handlettering
The act of printing by hand.
Display Type used to catch attention usually above 14 pt.
LOGO
GRAPHIC DESIGN
3
W3 GRAPHIC DESIGN
GrAPhiC deSigN
CHARACTER S T U DY
Character Study
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.) 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. Font Used Oriya MN & Didot
a
Character Study
The Letter V
V
The story of U is also the story of our V, W and Y. In fact, the origins of U even have something in common with the F, the sixth letter of our alphabet.
It all starts with an Egyptian hieroglyph that depicted a creature the Egyptians called Cerastes (the creature resembled a giant snake or dragon). This mark represented a consonant sound roughly equivalent to that of our F and was, in turn, the forerunner of the Phoenician “waw.” Certainly the most prolific of the Phoenician letters, the waw ultimately gave birth to our F, U, V, W, and Y.
Sometime between 900 B.C. and 800 B.C. the Greeks adopted the Phoenician waw. They used it as the basis for not one, but two letters in their alphabet: “upsilon,” signifying the vowel ‘u’ sound, and “digamma,” for the ‘f’ sound. Upsilon was also used by the Etruscans and then the Romans, both for the semiconsonantal ‘w’ sound and the vowel ‘u’, but the form of the letter looked more like a Y than either a U or a V. In ancient Rome the sounds of U, V, and W, as we currently know them, were not systematically distinguished. Context usually determined the correct pronunciation. As a result, the Roman sharp-angled monumental capital V was pronounced both as a ‘w’ in words like VENI (pronounced “way-nee”) and as the vowel ‘u’ in words like IVLIUS (pronounced as “Julius”).
And what happened to the Y? After the Roman conquest of Greece in the first century B.C., the Romans began to use some Greek words. They added the Greek Y to the Latin alphabet to accommodate these new additions to their vocabulary. But the sound value given to Y by the Greeks was unknown in the Latin language; when the Romans used it in adopted Greek words it took on the same sound as the letter I.
In the Medieval period, two forms of the U (one with a rounded bottom and one that looked like our V) represented the ‘v’ sound. It wasn’t until relatively modern times that the angular V was exclusively retained to represent our ‘v’ sound, and the version with the rounded bottom was left with the single job of representing the vowel ‘u’. As for the graphic form of W, it was created by the Anglo-Saxons, more or less during the 13th century. Sensibly, they tried to distinguish among the various sounds represented by the inherited letter when they wrote it down. So, though they used a V for both the ‘u’ and ‘v’ sounds, they wrote the V twice for the ‘w’ sound. Eventually the two Vs were joined to form a single character, called “wen.” This early ligature stuck and became part of the common alphabet rather than an accessory. The French, rather than use a foreign letter in their alphabet, preferred to double one of their own characters. They chose the U and called the letter “double vay.” To the English it became a “double U.”
Font Used Oriya MN & Didot
POSTER
The Museum of Modern Typography Presents June 21-September 18, 2016 The Museum of Modern Typography 221 South Grand Avenue Los Angeles 90012 www.museumofmoderntypography.com
Mo ch dern a by ract type e c ho ons rize faces d , str rizon isten un ess, fl tal tly an brack at an d be a h eted d t thi ween igh c serif the ck st thin ontra s, r typ fina okes and st hu ogra l step , wer jou ndre phy’s in e cal rney d-yea two lat ligra awa r y p e cen eig hy. I from h wa tury teen n th s th e t h p be cam erfec e sty ass le te e tw ociat fore d, an ot v gia yp ed w er d Gi nts: i ograp ith a Bo mba n Pa hic r an doni ttista ma, d Di in P (1740 do t (1 aris, -1813 ) 76 4-1 Firm , 83 i n 6).
The Museum of Modern Typography
UBIQUITOUS TYPE
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 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. 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, 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? 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 individually 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 fifteenth 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
“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.�
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.
SKETCH BOOK
NEWSLETTER
april 25-29
what ’s going on around campus ?
MOTHER’S DAY POP UP AT THE FIDM MUSEUM SHOP Meet current FIDM student Sky Lim, and check out her unique line of leather accessories. Exclusively sold in the Museum Shop. Additional limited edition jewelry will be featured by alumna Rafia Cooper.
Costume Exhibition Closing Soon! Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30! The show features costumes from 23 films, including Star Wars, Cinderella, Crimson Peak, and the Oscar winner for Best Costume Design Mad Max: Fury Road. The Museum is always FREE, and students receive a 20% discount in the Museum Store! Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.
Travel to New York! Spend your quarter break exploring NYC! Sept 25 – Oct 1 meet with FIDM alumni who will share their industry experience. See a Broadway show, shop the stores for the latest trends, and experience the Big Apple! Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fidm. edu
The FIDM Bookstore The FIDM Store is now carrying the Makeup Eraser! This amazing cloth uses only water to take off ALL of your makeup! Wow! Save yourself a trip to the beauty store and get it at The FIDM Bookstore! Quantity is limited, grab one before they’re all gone!
GUESS? Inc. Sustainable Product Lifecycle Course In partnership with Guess?, Inc. FIDM is developing a sustainability course on “The Sustainable Product Lifecycle”. 15 selected students will be immersed in hands-on course work, labs and field trips to enable them to understand, create and analyze innovative practices aiming to reduce a product’s impact on the global environment. This 8 week course will start July 2016 and will be held on Wednesdays from 12:00PM2:45PM. Applications for this FREE EXCLUSIVE course are available on the portal or in suite 201, desk 5. Application and written response is due April 28th. Please contact lnavas@fidm.edu with questions. This course is open to all current FIDM students.
CAREER CENTER FOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job # 65928, and sign up through Career Network. SAVE THE DATE, INDUSTRY EXPO on May 11 at 10:00 a.m. to 2:00 p.m. Come network with our industry partners. ALL STUDENTS AND ALUMNI ARE WELCOME.
JUNE 2016 GRADS MARCH 2016 GRADS who benefited from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016. E-Exits are available online at WWW.UASEXIT.COM
COMPLETION IS MANDATORY Failure to complete, will result in your DIPLOMA being held. If you have any questions, please call Evelyn Garcia at (213) 624-1200 ext 4292 or stop by Room 401-N.
June 2016 Graduates! Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the student portal? Any questions please see Elizabeth in room 313.
Help is Here for the Asking Assistance is available in writing, mathematics, accounting, statistics, critical thinking, time management, and much more. Come to the IDEA Center, located in the Design Studio East on the ground floor of the Annex. M – Th: 8:00 – 5:00 p.m. F: 8:30 a.m. – 4:00 p.m. x3225 or x4558 DESIGN STUDIO EAST HOURS (computers/printers) M – Th: 7:00 a.m. – 8:00 p.m. F: 7:00 a.m. – 6:00 p.m. Sa: 9:00 a.m. – 4:00 p.m. Design Studio West is now open! Instructor-led workshops in Photoshop/ Illustrator & Sketching have begun. Stop by the IDEA Center or check the FIDM Portal for a schedule of instructors. Design Studio West Hours M – F 8:30 a.m. – 6:00 p.m.
FIDM Visit by Academic Partnerships Representatives from the Laboratory Institute of Merchandising (LIM) in Manhattan, New York will be on campus Monday April 25, 2016 and from Regents University (formerly AIU London) in London, England will be on campus Friday, April 29, 2016. If you interested in learning more about these transfer options or scheduling an appointment with the representatives from these schools contact Ben Weinberg in room 208A extension: 3405.
POPS!