Typography Portfolio

TYPE A Typographic Study for Design and Type Setting

Gabriel A. Hidalgo | NSU ARTS3650 1

Typography

TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

The art of setting type

What is it?

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Typography is the art and science of displaying text (or “setting type” as print designers call it). The key decisions of typography concern font (the shapes of letters and other characters) and spacing (the white space around letters, words, lines, and paragraphs). Both are important to successful text display; without adequate spacing, the shape of the text is much harder for the eye to discriminate.

Characters in the Latin alphabet all sit on a common baseline. Some characters have descenders dipping below the baseline; others have ascenders rising above the typical height of a lowercase character (the x-height). Capital letters also ascend above the x-height. The typical height of ascenders above the baseline is called the ascent, and the typical height of descenders below it is called the descent of the font.

The font size is typically ascent + descent (but not always, alas, so two fonts with the same numerical size but using different typefaces may not line up in height!). Font size is denoted in points; a point is 1/72 inch, so a 12-point font occupies 1/6 of an inch vertically.

X-height, m-width, and n-width are useful font-dependent length metrics. You can find them used in CSS, for example. They allow specifying lengths in a way that will automatically adapt when the font is changed.

Fonts are visual elements used to pass information or display a message to the reader. Like with every visual input, fonts also carry a hidden message that changes how the reader perceives the text regardless of the content itself.

Each font is a unique set of letters with various weights, widths, and styles. However, some fonts share similarities in these attributes and therefore make up a typeface, a family of related fonts.

The

psychology

behind

Some typefaces can have stricter limitations on what factors you can change while remaining in the specific family, and others have more relaxed rules.

A typeface consists of various distinguishable parts, such as serif, sans-serif, aperture, ascender, baseline, cap height, descender, leading, letter-spacing, stem, stroke, and x-height.

Research in The British Psychological Society back in 1989 found a correlation between adjectives and various fonts perceived by the study subjects. The subjects were shown multiple typefaces and were asked to rate the perceptual qualities they may possess, such as heavy, light, fast, and slow.

Another study, which broadened the study subjects’ adjective choice, found the highest correlation with Times New Roman and Helvetica fonts and the adjectives “formal”

and “legible,” respectively. It’s also interesting to note that these fonts are on the opposite sides of the typography spectrum, with Times New Roman being a serif font and Helvetica being sans-serif.

Furthermore, these major font styles are widely available within content management systems and website builders. Having multiple choices with straightforward ways to change fonts allows you to quickly test out different variations and see which works best with your site’s design and psychological traits you’re after.

So, let’s take a closer look at significant font styles and how people typically perceive them.

Serif

Subcategories: Old Style, Slab, Transitional, Modern, Glyphic Serif font styles are almost synonymous with books and other physical media. The popularity comes from the elegant “serifs” that give this font style its unique name.

It’s a classic typeface with years of tradition and usage among the formal institutes and academic circles due to its conservative nature and respectable appearance.

Which adjectives typically describe serif fonts?

• Traditional • Respectable • Reliable • Elegant • Sophisticated Some of the example fonts include Times New Roman, Garamond, Georgia, and Palantino.

Sans-serif

Subcategories: Square, Humanist,

Grotesque, Geometric Sans-serif fonts lack the “serifs” that the serif font styles have.

Therefore, sans-serif fonts can be efficiently used in modern devices because the letters require less space. However, these fonts also embody cleanliness and clarity, which mainly shows for companies that have straightforward agendas and no fluff around them.

What typically describes sans-serif fonts?

• Clean-looking • Clarity • Modern • Efficient • Straightforwardness Some examples of sans-serif fonts are Arial, Helvetica, Futura, and Calibri.

Script

Subcategories: Formal, Casual, Blackletter, Calligraphic Script-type fonts are more casual and creative in nature. While they often aren’t suitable for body text due to legibility, they’re perfect for displaying messages due to their unique design. Script fonts are also considered personal and elegant as the general look itself promotes a dedicated approach and familiarity. Since these fonts look more like calligraphy art, there are a vast number of distinctive fonts you can choose from.

What typically describes script fonts?

• Elegance • Creativity • Uniqueness • Personal • Emotional Some examples of script fonts include Alex Brush, Pacifico, Lobster, and Tangerine.

Decorative

Decorative fonts are uniquely created mostly for advertising purposes. Therefore, this font style doesn’t have an official categorization as some of the previous font styles do. Typically, decorative fonts take elements from major typefaces and creatively mix them

to create a unique solution for a specific outcome. The creative nature and unique characteristics make this font family an option to explore if your brand really wants to stand out from the crowd.

Typical characteristics of a decorative font: • Casual • Creative • Original • Flexible • Urban Some examples of decorative fonts: Phosphate, Chalkduster, Graffiti, Grunge, and Stencil.

Type In the Arts

Typography is an incredibly versatile art form that can be used in a wide variety of ways. Whether you’re a graphic designer, a fine artist, or just someone who appreciates beautiful design, typography is an essential part of the creative process. By taking the time to understand the principles of typography and how it can be used to enhance a design, you can create truly memorable works of art.

One thing I love about typography is that it’s constantly evolving.

New typefaces are created every day, and trends come and go. For example, in recent years we’ve seen a rise in hand-lettered and brushscript fonts, as well as a resurgence of vintage typography styles. Typographical artworks are appearing more and more in advertising and day-to-day products.

“One thing I love about typography is that it’s constantly evolving.”

My favourite current artist/ designer is Peter Strain who has created some amazing typographical posters based on Harry Potter as well as typographical portraits of Freddie Mercury and Joaquin Phoenix as The Joker. The letters themselves form the images. They really are beautiful works of art.

People Highlights Alex Trochut

Barcelona-based Trochut is renowned for his extremely intricate and detailed typographic design work.

Inspired by his Grandfather’s modular typographic and ornament system creation in the 40s, he has developed a unique and elegant style and worked for clients such as Nike and Coca-Cola.

One of his better-known personal typography print art projects is a series of designs titled: ‘Lorem Ipsum’. These all feature the words ‘Lorem Ipsum Dolor Sit Amet’ in tubular style strokes.

He makes use of objects which are of a tubular shape such as pens, pencils and squeezed liquids such as creams and sauces and intricately weaves and intertwines the strokes to create the complicated yet visually pleasing effects he achieves.

Alex Trouchut, Window of Hope.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Rotunda Font The Rotunda is a specific medieval blackletter script. It originates in Carolingian minuscule. Sometimes, it is not considered a blackletter script, but a script on its own. It was used mainly in southern Europe.

Characteristics The difference between the Rotunda and other blackletter scripts is that broken bows appear only in a few letters such as “d”.

Celtic Art Celtic art is associated with the Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages.

Celtic art is not characterized only by the stylized throwbacks you see at modern-day festivals or in shops that sell nouveau Irish merchandise. In fact, the Celts did not arise in Ireland, but in Central Europe.

Celtic art is a broad movement in the history of art that is really three movements attributed to peoples of different times, locations, and cultural values, but that share a heritage.

The overarching theme of Celtic art is one of symbolism coupled with non-linear, geometric design. Most surviving pieces are those that were forged from metal or carved in stone, so scholars cannot be sure that all typical art from the period is represented in what still remains today.

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Civilité Font Civilité type (French: Caractères de civilité) is a typeface introduced in 1557 by the French punchcutter Robert Granjon. These characters imitate French cursiva letters of the Renaissance, specifically a formal style of secretary hand.

The first book in the new type was Dialogue de la vie et de la mort, a French version of Innocenzo Ringhieri’s dialogue, in the dedication of which Granjon explains his purpose in cutting the new design. He calls the typeface “lettres françaises” and suggests that France like other nations should have a type based on the national hand; his model was contemporary handwriting. The popular name for the type came from the titles of two early books in which it was used: Erasmus’s La Civilité puerile, Jean Bellère, Antwerp, 1559, and La Civile honesteté pour les enfans, R. Breton, Paris, 1560. “Civilité” meant “good manners” and it was thought an advantage that children should learn to read from a book printed in a type resembling current handwriting. Between 1557 and 1562 Granjon printed some 20 books in this type. Two other Paris printers had typefaces made that were very similar and Granjon himself supplied his version to Guillaume Silvius and to Christophe Plantin at Antwerp. Philippe Danfrie was another early creator of civilité types.

They were mostly employed to print books in Flanders, Holland, England, and France.

In the latter, they were used until the second half of the 19th century to print children’s lesson-books teaching civility and manners from which the type got its name. Civilité type did not win great popularity in France although used occasionally at all periods. Another version of civilité was used in one book printed in 1597 by Claude Micard, and two others in two books printed by Jean de Tournes in 1581 and 1598. In the mid 19th century Louis Perrin of Lyons printed J. Soulary’s Sonnets humouristiques in civilité. Granjon’s experiment cannot be said to have been a success: one of the grave disadvantages was that many ligatures were required and some letters had more than one variant.

Mannerism Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it.

Northern Mannerism continued into the early 17th century.

Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, Vasari, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, often resulting in compositions that are asymmetrical or unnaturally elegant. Notable for its artificial (as opposed to naturalistic) qualities, this artistic style privileges compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. Mannerism in literature and music is notable for its highly florid style and intellectual sophistication.

PROJECT OBJECTIVES CAP HEIGHT

X - HEIGHT

STEM

BASELINE

STEM

STEM

DESCENDENT

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1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Firmin Didot Font Named after the Didot family, famous as printers and type producers, the typeface is based on a collection of related types developed from 1784–1811 by Firmin Didot. Firmin cut the letters and cast them as type in Paris, and his older brother Pierre used them in printing. Firmin was also the inventor of stereotypography, an innovation in the printing process that completely changed the book industry, allowing books to be printed less expensively.

The Didot typeface is characterized by increased stroke contrast, condensed armature, hairline strokes, vertical stress, and flat, unbracketed serifs. It is a Neoclassical serif typeface. Firmin, along with Giambattista Bodoni, is credited with designing and establishing the “Modern,” “Neoclassical,” or “Didone” classification of typefaces.

Modern typefaces, including Didot, are generally unsuitable for body copy due to their high contrast level (which makes them difficult to read), and are preferred for display or semi-display purposes. When used in small sizes or for large bodies of text, a “dazzling” effect may occur, where the thick lines overwhelm the hairline strokes, rendering them all but invisible. High quality paper and printing equipment are necessary in order to effectively print Modern typefaces, especially at smaller sizes, as the hairlines may break up or fill in if printing improperly.

The Didot family’s long, prestigious history in the print industry and involvement in every step of the process allowed them to create works of unique quality. Novel procedures such as the use of woven paper and an improved printing press allowed for fine details in type to be reproduced relatively easily. This new precision allowed for the development of Firmin’s classic typeface. Development began on the face in 1783, and was first published in 1784. In the years following the face’s first usages (such as a Latin Bible in 1785 and the Discourse of Bossuet in 1786), Firmin continued to increase the contrast, and became the first person in the history of typography to record a font family with half-point increments. Later, after development of the face had ended, Pierre used it in his masterpiece, an 1819 edition of Voltaire’s La Henriade, shown at right. The Didot typeface would be considered the standard in French printing for over a century.

Neoclassical ideals were at the core of most of the Didot family’s work; minimal decoration, wide margins, and linear borders characterize their books. Rejecting the excess and opulence of the preceding Rococo style, Neoclassicism drew from Ancient Greek and Roman tradition, aiming for a certain simplicity and austerity of style, with mathematically idealized forms. The Neoclassical movement coincided with the Age of Enlightenment, a philosophical revolution of the 18th century that rigorously questioned established institutions, elevating reason, empiricism, reductionism, and scientific rigor as the primary informants of authority. In 1789, only five years after Didot began developing his eponymous typeface, the French Revolution broke out. The resulting displacement of the aristocracy and religious elite in France, and the general political unrest that accompanied it, made Enlightenment ideas of reason and control all the more relevant. The aesthetic of the Didot typeface is distinctly Neoclassical, with minimal embellishment, strong contrast, and mathematical precision. It is evocative of the vertical emphasis and open space characteristic of Ancient Greek architecture, much admired by Neoclassicists.

Firmin was also influenced by Baskerville’s transitional style, and in turn influenced Giambattista Bodoni.

Bodoni’s eponymous font was heavily inspired by Didot, and became more popular than the original, possibly for practical reasons — Didot’s extreme hairline strokes often cracked or broke during printing. Bodoni’s typeface has a lower x-height, less stroke contrast, thicker serifs, and smaller counters. It lacks much of the open, elegant feel of Didot’s type.

CAP HEIGHT TITTLE

X - HEIGHT BEAK SPINE

BASELINE

BOWL

STEM

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TERMINAL

SPUR

STEM

Neoclassicism

Neoclassicism (also spelled Neo-classicism) was a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity.

Neoclassicism was born in Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread across Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals.

The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism.

In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Peignot (Demi) Font Peignot (pronounced Pen-yoe) is a sans-serif display typeface, designed by the poster artistA. M. Cassandre in 1937. It was commissioned by the French type foundry Deberny & Peignot.

The typeface is notable for not having a traditional lowercase, but in its place a “multi-case” combining traditional lowercase and small capital characters. Cassandre intended for Peignot to be used in publishing and stated that “[t]here is no technical reason in printing why we cannot return to the noble classical shapes of the alphabet and discard the lower case forms.”

The typeface achieved some popularity in poster and advertising publishing from its release through the late 1940s. Stylistically Peignot is a “stressed” or modulated sans-serif in the Art Deco style, in which the vertical strokes are clearly wider than the horizontals. Use of Peignot declined with the growth of the International Typographic Style, which favored less decorative, more objective, traditional typefaces such as Akzidenz-Grotesk.

Peignot experienced a revival in the 1970s as the typeface used onThe MaryTyler Moore Show (and its production company, MTM Enterprises) and the second season of That’s My Mama.

While often classified as “decorative”, the face is a serious exploration of typographic form and legibility. It is now owned by Linotype Corp. and is distributed by both Linotype andAdobe.

A very similar typeface, Chambord by Roger Excoffon, was released by the Fonderie Olive in Marseille in 1945; it had a traditional lowercase. A font resembling Peignot was used for the Intellivision video game system. Derek Vogelpohl distributes a digital version of that font as freeware under the name SF Intellivised.

Jugendstil

Partaking in the Art Nouveau trends elsewhere in Europe, Jugendstil in Germany revolutionized and popularized modern design and crafts at the turn of the 20th century. The term Jugendstil, meaning “Young Style,” was derived from the magazine Die Jugend, and the style tended toward floral motifs, arabesques, and organically inspired lines and eventually moved toward abstraction and functionalism. Importantly, it emphasized workshops, where groups of designers worked with industrialists for mass production to disseminate products.

Jugendstil would become an important touchstone for Expressionists in Germany and Austria who were creating new visions of the modern subject and urban centers as well as later Bauhaus experiments in combining fine and applied arts.

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Eurostile (Bold) Font

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BASELINE

X - HEIGHT

CAP HEIGHT

FINIAL

COUNTER (CLOSED)

STEM

APEX

STEM

TITTLE

Eurostile is a geometric sans-serif typeface designed by Aldo Novarese in 1962. Novarese created Eurostile for one of the best-known Italian foundries, Nebiolo, in Turin.

Novarese developed Eurostile to succeed the similar Microgramma, which he had helped design. Microgramma was a titling font with only uppercase letters, which came with a variety of weights. A decade after Microgramma, Novarese resolved this limitation with his design of Eurostile, which added lowercase letters, a bold condensed variant, and an ultra narrow design he called Eurostile Compact, for a total of seven fonts.

Eurostile is a popular font, particularly suitable for headings and signs. Its linear nature suggests modern architecture, with an appeal both technical and functional. The squarish shapes with their rounded corners evoke the appearance of television screens of the 1950s and 1960s.

It is particularly popular in science fiction artwork and media set or produced in the 1960s and ‘70s, alongside other graphic design use. Eurostile and its antecedent Microgramma had a near-monopoly on science fiction typefaces through the end of the 20th century, before Ray Larabie, seeing an opening in the market, began designing more modern computer fonts for the genre and distributed them through freeware.

Bauhaus The Bauhaus was founded by architect Walter Gropius in Weimar. It was grounded in the idea of creating a Gesamtkunstwerk (“comprehensive artwork”) in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture, and architectural education.

The Bauhaus movement had a profound influence on subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.

Staff at the Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, and Lászl Moholy-Nagy at various points The Bauhaus style tends to feature simple geometric shapes like rectangles and spheres, without elaborate decorations. Buildings, furniture, and fonts often feature rounded corners and sometimes rounded walls.

Other buildings are characterized by rectangular features, for example protruding balconies with flat, chunky railings facing the street, and long banks of windows. Furniture often uses chrome metal pipes that curve at corners.

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

STEM

STEM

Interlace Double Font Daisy Wheel Daisy wheel printing is an impact printing technology invented in 1970 by Andrew Gabor at Diablo Data Systems. It uses interchangeable pre-formed type elements, each with typically 96 glyphs, to generate high-quality output comparable to premium typewriters such as the IBM Selectric, but two to three times faster. Daisy wheel printing was used in electronic typewriters, word processors and computers from 1972. The daisy wheel is so named because of its resemblance to the daisy flower.

By 1980 daisy wheel printers had become the dominant technology for high-quality text printing. Dot-matrix impact, thermal, or line printers were used where higher speed or image printing were required and poor print quality was acceptable.

Both technologies were rapidly superseded for most purposes when dot-based printers—in particular laser printers—that could print any characters or graphics, rather than being restricted to a limited character set, became able to produce output of comparable quality. Daisy wheel technology is now found only in some electronic typewriters.

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BASELINE

X - HEIGHT

CAP HEIGHT

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Le Juene Font The French Modern of the nineteenth century, often called Didot after the famous French printing dynasty who popularized the style, is often the serif typeface of choice to communicate elegance and sophistication. Le Jeune, designed by Commercial Type partners Paul Barnes and Christian Schwartz for Chris Dixon’s refresh of Vanity Fair, is a modern adapation of the idiom. Where the French Moderns typically feature soft teardrop forms, Le Jeune features sharp, round ball terminals more typical of British and American Moderns. Greg Gazdowicz has added a stencil version in each optical size, inspired by the famed Modern-style stencil letters found throughout France. Le Jeune Text is drawn for use at 16pt and below.

CAP HEIGHT X - HEIGHT

SHOULDER ARC EYE

STRESS TERMINAL

FINIAL

BASELINE STEM

STEM

STEM

STEM

Ligatures In writing and typography, a ligature is two or more graphemes joined to make a single glyph. In other words, it is a unique character created by joining multiple characters. For example, the diphthong æ or the sign &, originally a ligature of “et” that means “and” in Latin.

The earliest known script Sumerian cuneiform and Egyptian hieratic both include many cases of character combinations that gradually evolve from ligatures into separately recognizable characters.

Other notable ligatures, such as the Brahmic abugidas and the Germanic bind rune, figure prominently throughout ancient manuscripts.

These new glyphs emerge alongside the proliferation of writing with a stylus, whether on paper or clay, and often for a practical reason: faster handwriting. Merchants especially needed a way to speed up the process of written communication and found that conjoining letters and abbreviating words for lay use was more convenient for record keeping and transaction than the bulky long forms.

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Benny Black Font Blenny is a fabulously curvaceous, fat face display font. The soft, voluptuous curves and a retro feel of its single Black weight make it suitable for branding, bold headlines, or product labels.

Certainly the designer, Spike Spondike, was aware of the potential to develop the Latin forms of Blenny within the Thai script, making the connection between them in terms of their essential curves.

This font was created by a typeface design studio called Dalton Magg.

Dalton Maag was founded in 1991. They work with designers and branding specialists worldwide to help everyone find their best typographic expression – from logotype refinement and font licensing, to the creation of custom font suites. While we are best known for our custom projects, our retail font library is diverse and growing. We bring the same high standards to every commission, whether it’s addressing our own brief or our clients’.

Blenny Black is definetely a Display font, it is also heavy weighted with a diagonal stress. This font goes for a thick appearance with think space lines.

CAP HEIGHT X - HEIGHT

STEM

STEM EYE

ARC

STEM

ARC

BASELINE

DESCENDENT

PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

Texture and Value Text Study PROJECT OBJECTIVES 1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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Take The World By The Storm

By Lukas Graham I've always dreamt of travel Why should we die where we were born? (Born) Some roads are laid with gravel Sometimes you gotta build your own (Own) I wanna tear down boundaries I wanna greet my enemies I wanna see what I haven't

The Weight by Shawn M. I want to go back, forget that it's over Paint it in black, when you left me alone I never knew, she was sleeping next door with the kid I grew up with And I can't go back to her anymore, no more You tell me you were happier with him, but you want me to stay And you tell me that you needed time but you pushed me away And when you try to take me back, my heavy heart just breaks No I can't lift the weight Put you in the past, try to forget

Just the way you are by Bruno Mars Oh, her eyes, her eyes Make the stars look like they're not shinin' Her hair, her hair Falls perfectly without her tryin' She's so beautiful And I tell her every day Yeah, I know, I know When I

Evangeline

by Stephen Sanchez Baby, give it all I'd give it all just to make you mine And if you need a minute Honey, I'll give you all my time, all the time Do you need The Sandman?

Or a phone call to Mr. Jones? Oh I'll put your dreams to sleep With rattlin' bones So don't go to sleep, don't rest your head

growing only happens on your own? don't know You say there's They you so much you don’t me and I don't think you know leave You need to go and have to If to change is find yourself what you need You say you'd You can change right rather be alone next to me 'Cause you think you When you're high, won’t find it tied to I'll take the lows someone else You can ebb and Ooh, who said I can flow it's true And we'll take That the

Grow as we go

by Ben Plat

Movie Star by Trousdale Call back the night, I came alive up in your room Red carpet high, you told me why you love me too When I'm riding with you I don't need the flash Just the wind in my hair and your feet on the dash Pull over in a parking lot Slow dancing

Perfect by knowin' what Ed Sheeran it was I found a love for me I will not give you up Oh, darlin', just dive this time right in and follow my But, darlin', just kiss me lead slow Well, I found a girl Your heart is all I own beautiful and sweet And in your eyes, you're Oh, I never knew you were holdin' mine the someone waitin' for Baby, I'm dancin' in the me dark with you between 'Cause we were just my arms kids when we fell in Barefoot on the love grass while Not listenin'

We belong Together

Happier

by Ritchie Valens

You're mine And we belong together Yes, we belong together For eternity You're mine Your lips

belong to me Yes, they belong to only me For eternity You're mine, my baby And you'll always be I swear by everything I own You'll alway

A Sunday Kind of

by Ed Sheeran

The

By Shawn

Mendez

Lost Stars

by Adam Levine Please don't see just a boy caught up in dreams and fantasies Please see me reachin' out for someone I can't see Take my hand, let's see where we wake up tomorrow Best laid plans sometimes are just a one night stand I'll be damned, Cupid's demandin' back his

My Girl

by The Temptations

I've got sunshine on a cloudy day When it's cold outside, I've got the month of May I guess you'd say What can make me feel this way?

My girl, my girl, my girl Talkin' 'bout my girl,

Love

by Etta James

Walkin' down 29th and Park I saw you in another's arm Only a month we've been apart You look happier Saw you walk inside a bar He said somethin' to make you laugh I saw that both your smiles were twice as wide as ours Yeah, you look happier, you do Ain't nobody hurt you like I hurt you But ain't nobody love you like I do Promise that I will not take it

Life Of

compliment her, she won't believe me And it's so, it's so sad to think that she don't see what I see But every time she asks me, "Do I look okay?" I say When I see your face (Face, face) There's not a thing that I would change 'Cause you're amazing

I want a Sunday kind of love A love to last past Saturday night And I’d like to know it’s more than love at first sight And I want a Sunday kind of love, oh yeah yeah I want a, a love that’s on the square Can’t seem to find somebody, someone to care And I’m on a lonely road that leads to nowhere I need a Sunday kind of love I do my Sunday dreaming, oh yeah

Party

Love Song

by Taylor Swift

I love it when you just don't care I love it when you dance like there's nobody there So, when it gets hard, don't be afraid We don't care what them people say I love it when you don't take "no" I love it when you do what you want 'cause you just said so Let them all go

We were both young when I first saw you I close my eyes and the flashback starts I'm standing there On a balcony in summer air See the lights, see the party, the ball gowns See you make your way through the

Mystery of Love

by Sufjan Stevens Oh, to see without my eyes The first time that you kissed me Boundless by the time I cried I built your walls around me White noise, what an awful sound Fumbling by Rogue River Feel my feet above the ground Hand of God, deliver me Oh, oh woe-oh-woah is me The first time that you touched me Oh, will wonders ever cease?

Blessed be the mystery of love

State Lines by Novo Amor

Here, I'll forgive my thoughts now Steer it 'cause I forget the dots now Was it all any more faded after all?

I don't know, I don't know, I don't know Are you sure? Did you call? Did we ever really talk?

I don't know, I don't know, I don't know I don't know, I don't Dear, I wouldn't bet your heart down

Thinking Out Loud by Ed Sheeran

de La Habana He bailado mil guajiras a la luz de Hace la mañana tiempo que olvidé el sabor Un disparo al a agua salada corazón He vendido ya Guan-Guantanamera mi alma al Y soy un Diablo por good fella la plata La vida en Y ahora me la' muero de plazuela', sed mi cara en Pedacitos Guantanamera by

When your legs don't work like they used to before And I can't sweep you off of your feet Will your mouth still remember the taste of my love?

Will your eyes still smile from your cheeks?

And darlin', I will be lovin' you till we're seventy And baby, my heart could still fall as hard at

Guitarricadelafuente

Wonder by Shawn don't think I'll Mendez forget about I wonder if I'm them being real I wonder, I Do I speak my wonder truth or do I Right filter how I feel? before I I wonder, close wouldn't it be nice my To live inside a world eyes that isn't black and The only white? thing that's I wonder what on my mind it's like to be my Been dreamin' friends that you feel it too Hope that they I wonder what it's

favorite crime

by Olivia Rodrigo Know that I loved you so bad I let you treat me like that I was your willing accomplice, honey And I watched as you fled the scene Doe-eyed as you buried me

Juntos by unidos, tu La MelodiaPerfecta pecho conmigo Tú le llamas paz, Permíteme yo le llamo cerrar tus ojos Con ambas manos suavemente amor Tu corazón se Sientes que tu piel sincroniza se eriza Contigo por el Tu cuerpo se subconsciente Sobrepasamos la paraliza escala de todos Si te tomas de mi mano unidos Latidos Solo

Back To You

by Selena Gomez Took you like a shot Thought that I could chase you with the cold evenin' Let a couple years water down how I’m feelin' about you (Feelin' about you) And every time we talk Every single word builds up to this moment And I gotta convince myself I don’t want it even though I do (Even though I do) You could break my heart in two But when it heals, it beats

Same Old Love

by Selena Gomez Take away your things and go You can't take back what you said, I know I've heard it all before, at least a million times I'm not one to forget, you know I don't believe, I don't believe it You left in peace, left me in pieces

Underground by Cody Fry I woke up underground Not a light, not a sound I threw my voice into the dark. But the dark had no remark Just repeated what I said. Claustrophobic at first Struck by hunger and thirst I stood up and looked around There was nothing to be found Then a light broke through the black I was standing on a track That little light began to grow There was no where I could go And the ground began to shake No time left to hit the brake That little light was closing in And suddenly I'm

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TYPE: A typographic study for design and type setting.

Gabriel A. Hidalgo

HARRY POTTER A summary in two pages

The Story Of The Boy Who Lived 1. The Philosopher’s Stone:

Harry Potter and the Philosopher’s Stone is the first book in the Harry Potter series, written by J.K. Rowling. The story follows a young wizard named Harry Potter who learns about his true identity as a famous and powerful wizard.

At the start of the book, Harry is living with his abusive aunt and uncle, the Dursleys, who have hidden the fact that he is a wizard from him. On his eleventh birthday, Harry receives a letter from Hogwarts School of Witchcraft and Wizardry, informing him that he has been accepted as a student. The Dursleys try to prevent him from going to Hogwarts, but they are ultimately unsuccessful.

At Hogwarts, Harry makes new friends and learns about the magical world. He also learns that his parents were killed by the dark wizard, Lord Voldemort, who attempted to kill Harry as well, but failed. As a result, Harry has a lightning-shaped scar on his forehead and is famous in the wizarding world.

At Hogwarts, Harry, Ron Weasley, and Hermione Granger become friends and form a group known as the “Golden Trio.” They discover that the Philosopher’s Stone, a powerful and valuable magical artifact, is hidden at Hogwarts.

Voldemort wants to obtain the stone to regain his full power and become immortal.

Harry and his friends work together to protect the stone and defeat Voldemort.

They face many challenges, including a series of dangerous obstacles in the wizarding school’s underground chambers. In the end, they succeed in destroying the stone and defeating Voldemort, though not without some close calls.

The book ends with Harry returning

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to the Dursleys for the summer, but he is excited to return to Hogwarts for his second year. He has also gained a new sense of confidence and self-awareness as a result of his experiences at the wizarding school.

2. The Chamber of Secrets:

Harry Potter and the Chamber of Secrets is the second book in J.K. Rowling’s popular series about a young wizard named Harry Potter. In this book, Harry returns to Hogwarts School of Witchcraft and Wizardry for his second year of study. He quickly learns that something strange is happening at the school, as students are turning up petrified and the cryptic message “The Chamber of Secrets has been opened. Enemies of the heir, beware” is appearing all over the castle.

As Harry, Ron, and Hermione set out to investigate, they discover that the Chamber of Secrets is a hidden chamber deep within the school that was built by the school’s founder, Salazar Slytherin. It is rumored to contain a terrible monster that can only be controlled by the true heir of Slytherin.

As they continue to investigate, Harry and his friends find themselves in increasing danger. They are pursued by the school’s caretaker, Argus Filch, and his cat, Mrs. Norris, who believe that Harry and his friends are responsible for the petrified students. They also come face to face with the monster from the Chamber, a giant serpent that can speak and has a deadly gaze.

Eventually, Harry and his friends discover that the true culprit behind the petrified students is the school’s potions teacher, Professor Severus Snape. Snape, it turns out, is a descendant of Salazar Slytherin and has been trying to open the Chamber of Secrets in order to purge the school of all students who are not pureblood wizards.

In a final confrontation, Harry and his friends battle Snape and the monster from the Chamber. In the end, Harry is able to destroy the monster and save the school. However, in the aftermath of the battle, Harry is warned by the school’s headmaster, Albus Dumbledore, that he must be careful in the future, as there are dark forces at work that are determined to see him defeated.

3.The Prisoner of Azkaban:

In Harry Potter and the Prisoner of Azkaban, Harry is about to start his third year at Hogwarts School of Witchcraft and Wizardry. He is looking forward to seeing his friends Ron and Hermione again, but he is also worried about being attacked by Sirius Black, a convicted murderer who has escaped from Azkaban prison.

At Hogwarts, Harry learns that Black was a friend of his parents and betrayed them to their enemy, Lord Voldemort.

Harry also learns that he has a special

power called the “Patronus Charm,” which can protect him from the Dementors, soul-sucking creatures that guard Azkaban.

As the school year progresses, Harry, Ron, and Hermione investigate the mysterious appearances of a large, black dog on the Hogwarts grounds. They also discover that their Defense Against the Dark Arts teacher, Professor Lupin, is a werewolf.

In the end, Harry and his friends learn that Sirius Black is actually innocent and was framed by Peter Pettigrew, a friend of their parents who was believed to be dead. They help Black escape from the Dementors and return to his rightful place as a free man.

Throughout the story, Harry grapples with the weight of his own fame and the burden of being a hero. He also learns more about the history of the wizarding world and the ongoing fight against Voldemort and his followers.

4. The Goblet of Fire:

Harry Potter and the Goblet of Fire is the fourth book in the Harry Potter series, written by J.K. Rowling. In this novel, Harry finds himself competing in the Triwizard Tournament, a prestigious and dangerous magical competition between the three largest wizarding schools in Europe. Meanwhile, the dark wizard Lord Voldemort has returned and is gaining power, leading to tensions and fears within the wizarding community.

As the Triwizard Tournament begins, Harry and his friends Ron and Hermione find themselves facing deadly challenges and dangerous creatures. Harry is selected as the fourth champion, even though he is not eligible to compete, and must navigate the tournament while trying to uncover the mystery of who put his name in the Goblet of Fire.

Throughout the novel, Harry and his friends encounter a number of obstacles, including a dragon, a lake full of merpeople, and a deadly maze. They also meet new characters, such as Fleur Delacour, Cedric Diggory, and Viktor Krum, who are competing in the tournament.

Meanwhile, Lord Voldemort is gathering his followers, known as Death Eaters, and is plotting to overthrow the wizarding government. Harry and his friends must figure out how to stop Voldemort and his plans before it’s too late.

In the end, Harry is able to defeat

Voldemort’s plan and win the Triwizard Tournament. However, Cedric Diggory is killed in the process, and Harry is left with the realization that the dark wizard is still a threat and that he must continue to be on guard.

The novel explores themes of loyalty, bravery, and the consequences of power.

It also continues to develop the characters of Harry, Ron, and Hermione, as they face new challenges and come into their own as young adults

5. The Order of the Phoenix:

In Harry Potter and the Order of the Phoenix, Harry is in his fifth year at Hogwarts School of Witchcraft and Wizardry. The Ministry of Magic is in denial about Lord Voldemort’s return, and as a result, Hogwarts is under the control of the tyrannical Dolores Umbridge. Harry and his friends Ron and Hermione form a secret group called Dumbledore’s Army to teach their fellow students how to defend themselves against the Dark Arts.

Meanwhile, Harry begins having disturbing dreams about a mysterious door, which he believes is connected to a prophecy about himself and Voldemort.

He also discovers that he can communicate with snakes, a rare ability associated with Dark Wizards.

As the school year progresses, Harry

6.The Half-Blood Prince:

Harry Potter and the Half-Blood Prince is the sixth book in J.K. Rowling’s hugely popular Harry Potter series. In this book, Harry Potter is in his sixth year at Hogwarts School of Witchcraft and Wizardry, and is grappling with the aftermath of the events of the previous book.

The story begins with Harry returning to Hogwarts for the start of the school year. He is greeted by his friends Ron and Hermione, and the three of them quickly discover that things have changed at Hogwarts since they last attended. The school is now under the control of the Ministry of Magic, and there are new rules in place to prevent students from practicing magic outside of school.

Meanwhile, Harry is struggling with his feelings for his crush, Ginny Weasley, and is also dealing with the return of his nemesis, Draco Malfoy. Draco has been tasked by the evil Voldemort with a dangerous mission, and Harry is determined to stop him.

As the school year progresses, Harry and his friends discover that there is a new potions teacher at Hogwarts, Professor Slughorn. Harry quickly realizes that Slughorn has a valuable memory that could help them in their fight against Voldemort, and sets out to extract it

“Do not pity the dead, Harry.

Pity the living, and, above all those who live without love.” and his friends face numerous challenges, including a dangerous encounter with werewolves and a life-threatening mission to rescue Sirius Black, Harry’s godfather, from the hands of Voldemort’s Death Eaters.

In the end, Harry and his friends are able to defeat Voldemort’s forces and rescue Sirius. However, Sirius is killed in the battle, and Harry is forced to confront the fact that he will have to face Voldemort again in the future. Despite the challenges he has faced, Harry remains determined to continue the fight against the Dark Lord.

from him.

As Harry and his friends work to uncover the truth about Slughorn’s memory and Draco’s mission, they are also dealing with the growing threat of Voldemort and his Death Eaters. The book climaxes in a dramatic battle at the school, where Harry and his friends must confront the evil forces that have been gathering at Hogwarts.

In the end, Harry and his friends are able to triumph over their enemies, but at a terrible cost. The Half-Blood Prince, a mysterious figure who has been helping Harry throughout the book, is revealed to be none other than Professor Dumble-

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1. Typeface study and bacground of the font.

2. Type Identification 3. Anatomy of the font 4. Hisotrical movements or relevant infromation from the decade the font was used.

5. Recreation of the font.

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