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Fashion Institue of Design and Merchandising Winter 2017

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TYPOGRAPHY An Exploration on the history, usage & terminology used in the graphic arts

Megan Witte

Hairline Rule

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Tracking

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Character Studies

Ampersand

is a ligature composed from the letters “e” and “t”. The word “ampersand” itself is an alteration of “et per se and,” which became corrupted to “and per se and”, and finally “ampersand.” The history of the ampersand dates back to 63 B.C.E., and was a commonly used character during the Incunabula. For example, a single page from a book printed by Aldus Manutius in 1499, has over twenty-five ampersands!

Rooted in the Latin “et” meaning “and” Today, however, the ampersand has relatively limited uses. The Chicago Manual of Style doesn’t even address ampersands, except to say that it’s OK to spell them out at your own discretion, and the Associated Press Stylebook explicitly bans the ampersand from anything but a proper name or an abbreviation like “B&B” for “bed and breakfast.”

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Rooted in the Latin “et” (meaning “and”), the ampersand

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abril

editorial typography thin serifs and clean curves

Ve r o n i k a B u r i a n

A B C D E F G H

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Conceived specifically for intensive editorial use, whether it is in newspapers, magazines or digital media, Abril is a font family of two worlds. The titling weights, based on a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page, attracting the reader’s attention with measured tension in its curves, good color and high contrast. It also features typographic niceties such as ornaments, borders, special dingbats and alternate letters and numbers that propose a broad palette of tools to the designer.

The text weights are more closely inspired by both, 19th century slab serifs and scotch roman types. They maintain consistency with the headline styles, and at first glance may appear to have the same shapes only with lower contrast. However, in reality the letter forms of Abril Text were engineered from scratch to achieve a color, texture and overall width that allow using the font comfortably in the most challenging environments for continuous reading, such as newspapers. This also makes it a great font family for pocketbooks and magazines. Abril competes, in terms of economy of space, head to head with some newspaper classics such as Utopia or Nimrod, but featuring a more contemporary look and feel; and unlike them, includes a full set of small caps with numbers and punctuation.

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The Museum of Modern Typography Presents

a r a i n N r n a e areEi n Are

Maximiliano proviero August 21- October 18, 2017

Showcasing designs from Maximiliano Sproviero. Born in Buenos Aires, Argentina, 1987. Graduated as a Graphic Designer from Universidad de Buenos Aires in 2010. He specializes in calligraphy and type-design.

His type creations have been used and awarded around the world.

Museum Of Modern typogrphy 221 South Grand Avenue Los Angeles, CA 90012 www.museumofmoderntypography.com

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The New Typography: An Exhibition of the Work of

Maximiliano Sproviero

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Sproviero was still a student of Graphic Design at the University of Buenos Aires, Argentina when he started making type. Little by little, He began to dedicate himself almost exclusively to staining his hands with ink, to experiment, to achieve new forms.

Thus the study would be born: For the sake of reviving this beautiful art, in a world that today has almost forgotten it with few exceptions. Being in principle untraditional, his first sources went to the limit: I literally tried to bring the expressiveness and dynamism of the gesture calligraphy to the digital. Over the years, they became somewhat more conservative: They were somehow dressing in the suit of Typography.

When I discovered the art of calligraphy I fell in love I found in the typography a space to be able to develop, experiment and find the balance between two areas that are of my interest: The spontaneous of the artistic with the rigid of mathematics. I have always been a person with a tendency and affection for the exact sciences. Perhaps typography is the branch of graphic design that can most satisfy my needs. Nothing is beautiful because yes. There must be something behind, a set of very conscious decisions, that leave random outside the typographic creation.

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