Casey collins final typography portfolio

portfolio. a n e x p l o r a t i o n o f

t h e

h i s t o r y , u s a g e ,

&

t e r m i n o l o g y

o f

t y p o g r a p h y i n

G r a p h i c A r t s

f i d m

/ /

2 O I 7 .

prelude.

Casey Collins is a young designer based in Los Angeles, California.

She graduated from University of San Diego with a degree in psychology before plunging into the design world. She has a taste for blending science, art, and philosophy. Why? Because at their basis lies a foundation of curiosity, and Casey likes to stay... curious.

tableofcontents

tableofcontents

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typographical terms fonts used character studies logo design ubiquitous type sketches poster design pop

l a o c i s p tyrapherm g t

Grotesque Is frequently used as a synonym with sans serif. At other times, it is used to describe a particular style or subset of sans-serif typefaces.

reversed A lighter typeface on a darker background, such as white text on a black background, is reversed type.

Cursive

Wood Type

Serif

Calligraphy

Any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster.

The small extra stroke found at the end of the main vertical and horizontal strokes of some letters; semi-structural embellishment to the basic form of a character.

hairline r u l e

While the hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths, the hairline rule is the thinnest graphic rule (line) printable on a specific output device.

S L A B serif

characterized by thick, block-like serifs.

Serif terminals may be blunt and angular, or rounded. Generally have no bracket (feature connecting strokes to the serifs).

type is carved from wood (rather than metal circa industrial revolution) and cut perpendicular to the grain. It is distinguished by strong contrasts, an overall dark color, and a lack of fine lines.

a visual art related to writing. It is the design and execution of lettering with a broad tip instrument or brush. focuses on letterforms that work together as a whole.

Transitional

``Transitional’’ type is so-called because of its intermediate position between old style and modern. Features include vertical stress and slightly higher contrast than old style fonts, combined with horizontal serifs.

oblique

form of type that slants slightly to the right, used in the same manner as italic. Unlike italics, it does not use different glyph shapes; it uses the same glyphs as roman type, except distorted. Oblique fonts are usually associated with sans-serif typefaces.

Features laborate thick to thin strokes and serifs. The Gutenberg Bible, the first book ever printed with movable type, was set in a Blackletter typeface to mimic the manuscript writing of the time.

distressed Intentional flaws into the letters have been

introduced, to make any text set appear old and weathered.

o

p

c

a

p

A large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.

•

BULLET

A typographical symbol used to introduce items in a list.

G L ·»Ÿ«· P Ħ An elemental symbol within an agreed set of symbols, intended as a readable character for the purposes of writing.

T R A C K ING (or, letter-spacing), refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text.

Dingbst asafqwspvxmzs

A character, spacer, or ornament used in typesetting (other than a letter or numerical). Often used to describe certain fonts that have shapes and symbols in

place of what would normally be letters and numbers.

12 pt. rule

k e r n ing the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.

Blackletter

D

r

LIGATUR E

In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph.

Sw ash

A typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.

h

and

lettering custom illustration where each letter is one of a kind; allows you to stretch the rules of design, as each illustrated work is unique.

display

display typography has less concern for readability and more potential for using type in an artistic manner. A display typeface is designed for larger size type, perhaps 30 points or larger.

fonts used

character

studies

character studies

A

N

‘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.) o one knows why

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.

A a b o u t

t h i s

f o n t

:

AV E N I R

AVENIR was designed by Adrian Frutiger and released by Linotype-Hell AG in 1988. The design is based on two earlier sans serif typefaces, Erbar and Futura. Frutiger has described Avenir as a geometric sans serif with a human touch, unlike the cold mechanical flavor of Futura. Avenir is unusual in that i t h a s w e i g h t s t h a t a r e s i m i l a r, b u t e a c h is designed for a different purpose.

For example, the Light and Book w e i g h t s a r e s i m i l a r, b u t B o o k i s m o s t appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions.

Character

Studies

J

♢

“J

”

is a bit of a late bloomer

;

after all, it was the last letter added to the alphabet. It is no coincidence that /i/ and /j/ stand

side by side – they actually started out as the same character. The letter /j/ began as a swash, a typographical embellishment for the already existing /i/. With the introduction of lowercase letters

to

the

Roman numeric

system, /j/ was

commonly used

to

the

conclusion of a

series of one’s

– as in “xiij” for

denote

the number 13.

Both /i/ and /j/ were used interchangeably by scribes to express the sound of both the vowel and the consonant. It wasn’t until 1524 when Gian Giorgio Trissino, an Italian Renaissance grammarian known as the father of the letter /j/, made a clear distinction between the two sounds. Trissino’s contribution

is

important

because once he distinguished the soft /j/ sound, as in “jam” (probably

a

loan

sound),

he was able to identify the Greek “Iesus” a translation of

the

Hebrew

“Yeshua,”

a b o u t

t h i s

f o n t :

c e n t u

r

y

s c h o o l b

o

o

k

C e n t u r y S c h o o l b o o k is a transitional serif typeface designed by Morris Fuller Benton in 1919 for the American Type Founders (ATF) at the request of Ginn & Co., a textbook publisher, which wanted an especially easy-to-read face for textbooks. Century Schoolbook has elements similar to the Didone classification. Century Schoolbook is based on the earlier Century Roman.

C e n t u r y S c h o o l b o o k is familiar to many in North America as being the typeface with which many first learned to read. Morris Fuller Benton utilized research done by Clark University that showed young readers more quickly identified letterforms with contrasting weight, but with the lighter strokes maintaining presence. Tests also showed the importance of maintaining counterform (the white space around the black letterform) in recognizing the face at smaller sizes.[6] In designing Century Schoolbook, M. F. Benton increased the x-height, the stroke width, and overall letterspacing.

Character

Studies

♢

M

Did you

k n ow ?

you can’t

say the

letter

‘M’

without your lips touching.

Mhmmm.

The name for the letter ‘M’ is derived from the Phoenician Mem, via the Greek Mu. The Semitic, meaning biblical, Mem was most likely used to represent water.

The egyptian word for water also began with that sound. The letter ‘M’ represents the bibabial nasal consonant sound in the International Phonetic ALphabet and other modern languages.

K 22

Di d on i

Swash

M M M

M M M

M

M

was created by Philippines-based artist Luc Devroye i n 2 0 1 1 . A c c o r d ing to Devroye, the typeface is b a s e d o n D i d o n i from page 33 of Swash Letter Alphabets: 100 Complete Fonts by Dan X. Solo and a l s o o n p a g e 1 4 0 of The Solotype Catalog of 4,147 Display Typefaces .

The Didoni font family, of w h i c h K 2 2 D i d o n i Swash stems from, was designed b y P h i l M a r t i n in 1969 and published by URW++.

Character

Studies

♢

Character

Studies

H

is

a

♢

serial

English

in the

dat e r

language.

Her

popularity in the english language is partly owed to the cosonants of which H is usually found coupled with: like th, wh, ch, sh, and gh.

M

any historians believe

that

the H started out as the

Egyptian hieroglyph for a sieve.

The Semites called the character kheth,

which

Somewhere

meant

around

“fence.”

900 B.C. the

Greeks borrowed the kheth and dropped

the

horizontal couldn’t of

the

and

bars.

Since

pronounce

the

kheth, they

letter eta. the

top

Greek

bottom they sound

called

the

The Romans adapted eta

for

their

own

alphabet, which is the prototype of

our

current

eighth

letter.

Hustlers R o u g h H

us t l e r s ™ was inspired by carnival , circus and tattoo

1800’s. F ounded in 2013 Decade T ypefoundry , Hustlers R ough is a modern take on antique woodcut , tuscan , and western letters . shop signs from the late

by

W

‘rough’

ith its for

both

and

‘clean’

distressed

Hustlers works well with T ypefoundry claims that the incorprated a

unique

into

accent

versions , the font allows

and

clean normal font

large

displays ,

as

single

a

design . size

looks short

character

Although D ecade

text ,

its

best

words , in

a

when or

as

design .

logo design.

logo des ign.

logo design.

by CASEY casey C collins by OLLINS

.

studio

Casey Collins

CASEY C OLLINS DESIGNS

designs DESIGNS

collins

creative

n

c r e at i v e s t u d i o

museum of modern typography

m u s e u m of modern typography

casey

Ubi quit ous type.

sketch.

sketch.

sketch.

sketch.

OSTERdesig

pop.

POP.

POP

pop! visual project in this issue: volume seven issue one

andy warhol banksy larry rivers shepard fairey jasper johns

pop! jasper johns

larry rivers andy warhol shepard fairey banksy

issue one

visual project

volume seven

in this issue:

w a r h o l

f a i r e y j o h n s

s h e p a r d

j a s p e r

b a n k s y l a r r y r i v e r s

a n d y

p o p ! i s s u e o n e v i s u a l p r o j e c t v o l u m e s e v e n i n t h i s i s s u e :

pop! v i s u a lp r o j e c t seven issue one banksy w a r h o fl a i r e y r i v e jros h n s

v o l u m e

i n

t h i s

i s s u e

a n d y

s h e p a r d

l a r r y

j a s p e r