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ortfoli Typographical Portfolio An Exploration of the History, Usage & Terminology of Typography in the Graphic Arts

FIDM | WINTER 2017

Portfolio

JOA Joa

2 typography portfolio

ANNA won WON anna

Joanna Won is a Los Angeles based Graphic Designer. After receiving her Bachelors in Marketing at the University of Houston and building her professional portfolio as an Event Manager in Las Vegas, she decided to return to school to pursue her passion of graphic arts and design. The following is a record of her exploration with typography and layout during the winter 2017 quarter at the Fashion Institute of Design & Merchandising.

Table of contents

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Font library typographical terms Character study Logo Designs ubiquitous type layout sketch book poster design pop!

font library

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Accent Ailerons Anders Aqua Grotesque Avenir Avenir Next Brandon Grotesque Break Bromello Castro Script Caviar Dreams Choplin Colors of Autumn Courier Disposition Dolce Vita Heavy

Five Boroughs Handwriting Frontage Helvetica Neue Jaapokki Subtract JF Summer Fair Lucida Blackletter Manifesto Morva Notera Orator Pluto Prata Signerica Fat Times New Roman Vast Shadow

typographical terms

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Typographical Terms Illustrated Serif

display 12 pt. Rule

If type is measured as 12 points, that same measurement can be taken as the size of the line the type sits on. For example, a 12 point rule is a line that is 12 points

Blackletter

The Blackletter typeface was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs.

• Bullet

A bullet ( • ) is a typographical symbol or glyph used to introduce items in a list.

Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. A display typeface is designed for the use of type at large sizes, perhaps 30 points or larger.

Distressed

Intentional flaws into the letters have been introduced, to make any text set appear old and weathered

D

rop cap

handlettering

Custom illustration where each letter is one of a kind, while calligraphy has balanced, identical letterforms. Lettering allows you to stretch the rules of design, as each illustrated work is unique. Calligraphy on the other hand focuses on letterforms that work together as a whole.

The process of adjusting the spacing between a pair of letters, numerals, punctuation, etc. (properly “glyphs”) so that their spacing looks correct.

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.

A visual art related to writing.

It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments.

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An elemental symbol within an agreed set of symbols, intended to represent a readable character for the purposes of writing.

Slab Serif

Also called mechanistic, square serif, antique or Egyptian typeface, slab serif is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular, or rounded.

K er n ing

Lig(æ)ture

Calligraphy

Serif’s are semi-structural details on the ends of some of the strokes that make up letters and symbols. A typeface that has serifs is called a serif typeface (or seriffed typeface).

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

Swash

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

Tracking

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.

oblique

Cursive

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

Dingbat H

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 frames.

Grotesque

Frequently used as a synonym with sans serif. At other times, it is used (along with “NeoGrotesque”, “Humanist”, “Lineal”, and “Geometric”) to describe a particular style or subset of sans-serif typefaces. The first sans-serif typeface called grotesque was also the first sans-serif typeface containing actual lowercase letters.

Hairline Rule

A thin stroke usually common to serif typefaces. In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths; hairline rule, the thinnest graphic rule (line) printable on a specific output device.

Oblique type (or slanted, sloped) is a form of type that slants slightly to the right, used in the same manner as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except distorted.

Reversed

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

Transitional

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

wood type Wood type derives its name from the fact that instead of being made of metal (circa industrial revolution), the type is carved from wood, cut perpendicular to the grain. It is distinguished by strong contrasts, an overall dark color, and a lack of fine lines.

Character

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studies

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

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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

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A

A

A

A

A

A C O U R I E R

N E W

Courier is a monospaced slab serif typeface designed to resemble the output from a strikeon typewriter. The typeface was designed by Howard “Bud” Kettler in 1955, and it was later redrawn

by Adrian Frutiger for the IBM Selectric Composer series of electric typewriters.

“Courier New” is a version produced by Monotype.

Courier New was “digitized directly from the golf ball of the IBM Selectric”; this process resulted in some very thin outlines, because the typewriter’s ball was designed deliberately thinner than the intended character stroke width since these expand as ink soaks into the paper.

[5] It is unpopular and many programmers recommend avoiding it: programmer and blogger John Gruber described it as “a wretched variant of Courier; anemic and spindly.”

W

character studies / W

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.

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.”

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W

VAST SHADOW

Vast is a Victorian slab serif advertising type. Vast has a feeling of sturdy solidity combined with just a little bit of refinement. Because Vast Shadow has a thin shadow that won’t display well at small sizes we recommend that you use it from 32px and larger.

Designer: Nicole Fally

character studies / j

T

he letter ‘J’ originated as a swash letter i, used for the letter ‘I’ at the end of Roman numerals when following another ‘i’, as in ‘xxiij’ instead of ‘xxiii’ for the Roman numeral representing

23. A distinctive usage emerged in Middle High German.

Gian Giorgio Trissino (1478–1550) was the first to explicitly distinguish I and J as representing separate sounds.

Originally, ‘I’ and ‘J’ were different shapes for the same letter, both equally representing /i/, and /j/; but, Romance languages developed new sounds (from former /j/ and /g/) that came to be represented as ‘I’ and ‘J’; therefore,

Sumerian

English J, acquired from the French J, has a sound value quite different from /j/ (which represents the initial sound in the English word “yet”).

Phonecian

Greek

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The word avenir is French for “future”. The font takes inspiration from the early geometric sansserif typefaces Erbar (1922), designed by Jakob Erbar, and Futura (1927), designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the two-story lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface, Frutiger.

Frutiger considers Avenir his finest work. ‘The quality of the draughtsmanship – rather than the intellectual idea behind it – is my masterpiece. (...)

It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.’

Avenir

Avenir is a proportional geometric sans-serif typeface designed by Adrian Frutiger in 1988 and released by Linotype GmbH, now a subsidiary of Monotype Corporation.

character studies / &

&

Amper The ampersand is a visual representation of the phrase “and, per se and.” It is a graphic representation of the Latin “et,” which translates to “and.”

That definition is how the ampersand is most commonly used today — as an inclusionary symbol meaning “and.”

&

sand

The character dates to 45 A.D., according to a history of the letter by type designer Max Caflish for Adobe. The character appeared on papyrus and was handwritten in the Roman cursive style.

The earliest representations of the character were a combination of the letters ET (in the form of a ligature) and evolved into the more common & single-character representation over the course of the next 700

&& & & &

&

&& & & & 18

typography portfolio

&

&

character studies / o

Some believe that our present O evolved from a Phoenician symbol; others vote for an even more ancient Egyptian heiroglyph as the source. The true ancestor of our O was probably the symbol for an eye, complete with a center dot for the pupil. The symbol for eye, “ayin” (pronounced “eye-in”) appears among the Phoenician and other Semitic languages around 1000 B.C. The Greeks adapted the ayin to their communication system and used it to represent the short vowel sound of ‘o.’

While the Phoenicians and the Greeks drew the letter as a true, nearly perfect circle, the Romans condensed the shape slightly to be more in keeping with their other monumental capitals.

Phoenician, Early Greek, Late Greek, Roman

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FF uu tt uu rr aa Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–33. It was commissioned as a typeface by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922.

Futura has an appearance of efficiency and forwardness.

Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner’s design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of near-even weight, which are low in contrast. The lowercase has tall ascenders, which rise above the cap line, and uses a single-story ‘a’ and ‘g’, previously more common in handwriting than in printed text. The uppercase characters present proportions similar to those of classical Roman capitals.

logo designs

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M

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momt concepts

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Museum of Modern Typography

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Museum of Modern Typography

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Joanna Won | Graphic Design

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JOANNA WON GRAPHIC DESIGN

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Joanna Won•Graphic Design

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personal logo concepts

Ubiquitous Type

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

T

ypography makes at least two kinds of ought to be at liberty to follow or sense, if it makes any sense at all. It to blaze the trails they choose. makes visual sense and historical sense.

Typography thrives as a shared The visual side of typography is always on concern - and there are no display, and materials for the study of its paths at all where there are no visual form are many and widespread. The shared desires and directions. A history of letter- forms and their usage typographer determined to forge is visible too, to those with access to new routes must move, like other manuscripts, inscriptions and old books, but solitary travelers, through from others it is largely hidden. uninhabited country and against the This book has therefore grown into somegrain of the land, crossing common thing more than a short manual of typothoroughfares in the silence before graphic etiquette. It is the fruit of a lot dawn. The subject of this book is of long walks in not typographic solitude, but the the wilderness of old, well- traveled roads at the letters: in part a core of the tradition: paths that pocket field guide each of us is free to follow or to the living not, and to enter and leave when we wonders that are choose - if found there, and in only we know part a meditation the paths are on the ecological there and principles, survival have a sense techniques, and of where they ethics that apply. lead. That Downtown Los Angeles freedom is STumpton coffee The principles of typography as denied us if the tradition I understand them are not a set of dead is concealed or left for dead. conventions but the tribal customs of the magic Originality is everywhere, but forest, where ancient voices speak from all much originality is blocked if the way back to directions and new ones move to unremembered earlier discoveries is cut or overgrown. If you forms. use this book as a guide, by all means leave One question, nevertheless, has been often in the road when you wish. That is precisely the my mind. When all right-thinking human beings use of a road: to reach individually chosen are struggling to points of departure. remember that other “Typography is the craft of By all means break men and women are the rules, and break endowing human language with a them beautifully, free to be different, and free to become durable visual form, and thus with deliberately, and well. more different still, That is one of the ends an independent existence.� how can one honestly for which they exist. write a rulebook? What Letterforms change reason and authority constantly, yet differ exist for these commandments, suggestions, and very little, because they are alive. The instructions? Surely typographers, like others, principles of typographic clarity have also

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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

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

Its heartwood is calligraphy. It is true that typographer’s tools are presently changing with considerable force and speed, but this is not a

Serra - Portland, OR 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.

Portland, OR

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.

Salt & Straw - Portland, OR

Sketch Book

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Graphic Design/Illustrator personal logo concept

Fundamentals of Drawing Perspective and Shading sketches/notes

Character study: J sketches

Char. study: W sketches

Char. study: M sketches

Character study: A sketches

Character study: o sketches

Char. study: & sketches

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structure of a female face practice

Portrait: Will Binder

Male figure sketching Portrait: JOhn Lennon

Poster Design

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THE NEW TYPOGRAPHY

The Museum of Modern Typography present the work of

The Museum of Modern Typography

221 South Grand Avenue Los Angeles 90022

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Week 1.

pop! visual project

issue one

volume seven

in this issue:

andy warhol banksy shepard fairey

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jasper johns larry rivers

week 2.

volume seven in this issue:

visual project

issue one

pop!

andy warhol banksy jasper johns larry rivers shepard fairey

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shepard

Week 4.

pop! andy warhol visual project

banksy jasper johns volume seven

issue one

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shepard fairey

Week 5.

pop! visual project

volume seven

issue one

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banksy andy

jasper

johns larry

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Week 6.

pop! visual project

in this issue:

andy warhol

volume seven

banksy

issue one

jasper johns

larry rivers

shepard fairey

week 7.

pop!

visual project volume seven issue one in this issue:

andy warhol

shepard shepard fairey fairey

larry rivers jasper johns jasper johns

banksy 40 typography portfolio

week 9.

p o p ! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!

VOLUME SEVEN pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!

ISSUE ONE pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! p o p ! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! p o p ! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! p o p ! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop! pop!

VISUAL PROJECT

IN THIS ISSUE

Andy Warhol Jasper Johns Shepard Fairey Larry Rivers Banksy

jw Joanna Won w Graphic Design

J.won Joanna Won | Graphic Design

J C W JOANNA WON GRAPHIC DESIGN

J . WON Joanna Won•Graphic Design