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JOE MASCHERONI

TYPOGRAPHIC PORTFOLIO An exploration of the history, usage and terminology of type as used in the graphic arts.

Fashion Institute of Design & Merchandising spring 2015

About the designer Joe Mascheroni is from Moraga CA. He is a graphic design student at the Fashion Institute of Design & Merchandising. This is his final portfolio for typorgaphy.

Fonts used in this project Cera light and bold, Avant Garde, Didot, Minion Pro and Helvetica.

CON TEN TS 03 Logo design

05 Character studies 11 Poster design

13 Identity design

15 Ubiquitious type 17 Sketch book 21 News letter

23 Pop project 29 Typographical terms

LOGO DESIGN

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CHARACTER STUDIES

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character studies the letter a

N

o on 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.)

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.

The Phoenicians first drew the ox head ‘A’ as a ‘V’ with a crossbar to distinguish the horns from the face. They called this letter “alef,” the Phoenician word for ox. Through centuries of writing (most of it quickly, with little care for maintaining detail) the alef evolved into a form that looked very different from the original ox head symbol. In fact, by the time it reached the Greeks in about 400 BC, it looked more like our modern ‘k’ than an ‘A’.

The Roman capital letters have endured as the standard of proportion and dignity for almost 2,000 years.

They’re also the basis of many of the lowercase designs. ‘A’ is the first letter.

There are 25 more stories.

06

T

he pan-European typeface designed between 20132015 is supporting pure geometry plus Latin, Cyrillic and Greek script. With over 980 glyphs per weight Cera PRO cares about localized letter shapes plus ordinals and provides matching OpenType Features.

Equipped with six precise weights, a clean Italic carefully slanted to 10 degrees and useful dingbats plus arrows, Cera PRO is a good companion for setting clean text and headlines for print and screen in multiple languages and all its facets. For the upright shapes there is a stencil version available as well.

character studies the letter z

W

hat letter is used most rarely in English? Poor lonely z finishes up the alphabet at number 26. The final letter, z’s history includes a time when it was so infrequently used that it was removed altogether.

The Greek zeta is the origin of the humble z. The Phoenician glyph zayin, meaning “weapon,” had a long vertical line capped at both ends with shorter horizontal lines and looked very much like a modern capital I. By the time it evolved into the Greek zeta the top and bottom lines had become elongated and the vertical line slanted, connecting to the horizontal lines at the top right and the bottom left.

Around 300 BC, the Roman Censor Appius Claudius Caecus removed z from the alphabet. His justification was that z had become archaic: the pronunciation of z had become r by a process called rhotacism, rendering the letter z useless.

At the same time that z was removed, g

was added, but that’s another story. Two hundred years later, z was reintroduced to the Latin alphabet but used only in words taken from Greek. Because of its absence and reintroduction, zeta is one of the only two letters to enter the Latin alphabet directly from Greek and not Etruscan. Z was not always the final letter of the modern English alphabet, although it has always been in the 26th position. For years the & symbol (now known as the ampersand) was the final, pronounced “and” but recited with the Latin “per se,” meaning “by itself.”

The position and pronunciation eventually ran together, with “X, Y, Z, and per se and” becoming “X, Y, Z, ampersand.” Z is the most rarely used letter in the alphabet; however, American English uses it more often than British English. Early English did not have a z but used s for both voiced and unvoiced sibilants. Words in English that originated as loan words 07

H

elvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Edouard Hoffmann.

It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs.

Known as the “invisible typeface” due to the extent of its visibility and influence, it is among of the most popular typefaces of the 20th century, its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s.

character studies the letter g

G

enerally speaking, there are no launch dates for the letters of our alphabet. For the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C. Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upside-down V looked like the hump of a camel.

The Greeks borrowed the basic Phoenician form and changed its name to gamma. They also made some dramatic changes to the letter’s appearance. At various times in ancient Greek history, the gamma looked like a one-sided ar-

row pointing up, an upside-down L, or a crescent moon. Throughout this time, however, the gamma always represented the same hard ‘g’ sound that it did for the Phoenicians.

The Greek form was adopted by the Etruscans and then by the Romans, where for many years it represented both the hard ‘k’ and ‘g’ sounds. This brings us to 312 B.C., when our modern G was formally introduced into the reformed Latin alphabet. The G was created to eliminate the confusion caused by one letter representing two sounds.

The basic shape, which now looked like our C, was used to represent the palatalized sounds ‘s’ and ‘c,’ and a little bar was added to create the letter G, which denoted the guttural stop ‘g.’

The G took its position as the seventh letter of our alphabet, replacing the letter Z, which was considered superfluous for the writing of Latin. The ousted Z took its place at the end of the line.

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I

TC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, then he and Tom Carnase, a partner in Lubalin’s design firm, worked together to transform the idea into a full-fledged typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977.

character studies the letter m

P

ac Manis an arcade game developed by Namco and first released in Japan on May 22, 1980. It was licensed for distribution in the United States by Midway and released in October 1980. Immensely popular from its original release to the present day, Pac-Man is considered one of the classics of the medium, virtually synonymous with video games, and an icon of 1980s popular culture.Upon its release, the game—and subsequently, PacMan derivatives—became a social phenomenon that sold a large amount of merchandise and also inspired, among other things, an animated television

series and a top-ten hit single.

When Pac-Man was released, the most popular arcade video games were space shooters, in particular Space Invaders and Asteroids. The most visible minority were sports games that were mostly derivatives of Pong. Pac-Man succeeded by creating a new genre and appealing to both genders. Pac-Man is often credited with being a landmark in video game history, and is among the most famous arcade games of all time. It is also one of the highest-grossing video games of all time, having generated more than $2.5 billion in quarters by the 1990s.

09

I

TC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, then he and Tom Carnase, a partner in Lubalin’s design firm, worked together to transform the idea into a full-fledged typeface. The condensed fonts were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977.

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POSTER DESIGN

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IDENTITY DESIGN

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Ubiquito The presence of typography both good and bad, can be seen everywhere.

T

By Milton Glaser

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 some thing 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

A report o

ous T ype : on public typography 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 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 of type.

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. The essential elements of style have more to do with the goals the living, speaking hand and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.

“ Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

SKETCH BOOK

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NEWSLETTER

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WE EK OF JAN UA RY 21 24 CCSA Hosts:

Yoga Workshop Tuesday, January 21 11:15 a.m. - 12;00 p.m.

Room 425 Join our CCSA Club for a FREE Yoga class.

Learn how yoga can help your physical & mental state. Open to all current students.

Student Council Hosts

Pilates Class Thursday, Jan. 23 11:15 a.m. - 12:00 p.m.

Room A332 Join Student Council for a fun introductory pilates class. Open to all current students.

Zumba Thursday, Jan. 23 6:30 p.m. - 7:30 p.m. in the Student Lounge Join us for a high intensity, high energy, Latin inspired workout! Burn calories while having a blast!

Just Design It (Active Wear for Cotton) This unique competition allows participants to become actively acquainted with the benefits of cotton in active wear design. In teams of three, participants are challenged to research a sport or fitness activity, develop a consumer profile, and design a cotton rich garment that is functional and fashionable. $19,000 in scholarships will be awarded. Application deadline: January 23 to Suite 201E. For more information contact tedwards@ fidm.edu or visit the Portal.

New Year, New You! Wellness Fair Wednesday, Jan. 22 11:15 a.m. - 12:00 p.m.

Student Lounge

Personal Counselors Workshop

Start the New Year by being healthy. Join us for our annual health fair!

Get services and info from: •Vertigo Salon •Evoke Yoga •Los Angeles Athletic Club •Ralphs •Target Pharmacy

Come hear personal stories from two current students about overcoming depression. Learn tips and tools on how to help yourself and others.

Meditation Friday, Jan. 24 11:15 a.m. - 12:00 p.m.

Room 425 Wrap up Student Activities’ Wellness Week with an afternoon meditation session. Lead by Meditation sepcialist, Sonya Joseph. Leave feeling refreshed & clam for your weekend.

FIDM MODE™ Magazine Launch Party Thursday, Feb. 6 7:00 p.m. – 10:00 p.m.

Vertigo Salon (penthouse of the Annex) The FIDM MODE™ Magazine presents the release of Fall/Winter 2014 issue. Join us as we celebrate the launch with an exclusive party! Tickets will be sold starting Wednesday, Jan. 22, in Student Activities, Rm. 425, for $10.00 or $15.00 at the door.

How to Save a Life Thursday, Jan. 23 11:15 a.m. - 12:00 p.m.

Student Activities, Rm. 425

Celebrate Paris with us!

Find us in the Student Lounge on Tuesday, Jan.28, to learn about our 2014 Paris Summer Institute.

A trip you don’t want to miss!

To sign up, go to https://myfidm.fidm. edu. Click the “MY FIDM” link at the top of the page & select “ABOUT STUDY TOURS” in the navigation bar on the left. For questions, contact Sevana Dimijian at sdimijian@fidm.edu. Also, find us on FACEBOOK @ facebook.com/fidmstudy.tours

Career Center Wednesday, Jan. 22, TJ MAXX will be on campus recruiting for Assistant Managers in the Los Angeles area. Please sign up in the Career Center.

SUNGLASS HUT will be on campus Thursday, Jan. 23, recruiting for their new store at 7th & Figueroa. Please sign up in the Career Center.

NEW STUDENTS Please make an appointment on Career Network to meet with your Career Advisor for assistance with your job search.

POP PROJECT

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TYPOGRAPHICAL TERMS

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Typographical Terms Grotesque Grotesque

Sans Serif (a.k.a. Gothic or Grotesque) type forms made their first appearances around 1815-1817.

Both are marked by simpler letterforms with (usually) relatively uniform stroke weight, lacking significant contrast, often geometric in underlying design.

Cursive Cursive

Early italic typefaces that resemble handwriting but with the letters disconnected.

Slab serif Slab serif

Serif Serif

The opening and closing cross-strokes in the letterforms of some typefaces. San serif typefaces as the name implies, do not have serifs but open and close with no curves and flourishes.

Calligraphy Calligraphy

T r a c k e d

Transitional

Swash

Wood type

Type made from wood. formerly used for the larger display sizes more than 1 inch where the weight of the metal made casting impractical.

This type is oblique Oblique

Roman characters that slant to the right.

Reversed

Transitional

Blackletter Wood Type

Grotesque In printing, refers to type that drops out of the background and assumes the color of the paper.

A typestyle that combines features of both Old Style and modern.

Also called Gothic. Style of hand writing popular in the fifteenth century. Also, the call of typestyles based on this handwriting.

Dingbat

A dingbat is an ornament, character, or spacer used in typesetting, sometimes more formally known as a printer’s ornament or printer’s character often employed for the creation of box frames.

Elegant handwriting, or the art of producing such handwriting.

Also called Egyptian and square serif. Typestyle recognizable by its heavy, square serifs.

Blackletter

Dingb.t

Swash

A capital letter with an ornamental flourish.

Distressed Distressed Distressed type has a rough texture.

�ff Ligature

Two or three characters joined as a single character.

Tracking Used in digital typography to mean overall letter-spacing.

☺☼���✈☛ Glyph

is an elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing and thereby expressing thoughts, ideas and concepts.

DISPLAY Display

Type used to attract attention, usually above 14 points in size.

D

rop cap Drop cap

Display letter that is set into the text.

•Bullet

Right now I am k e r n i n g

Handlettering Handlettering is a font that was made by free hand drawing.

A typography element usually used to highlight specific lines of text.

Adjusting the space between letters so that part of one extends over the body of the next.

Kerned letters are common in italic, scripts, and swash fonts.

Hairline rule

This font is 15 points This font is 12 points

Handlettering

A fine line or rule, 1/4-point in thickness.

Bullet

12 pt. rule 12 pt. rule is font that are sized to 12 points.

Kerning

THANK

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