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portfolio

t y p o g r a p h y

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T a b l eo f

c o n t e n t sHelvetica Neue

LavanderiaDesdemona

Caviar DreamsTimes

HelveticaGill SansBlanch

Bell MT

p a g e s 1 , 1 9 , 2 1

M o n a c o , Lo g o

U b i q u i t o u s

U b i q u i t o u s , Lo g o , TO C

U b i q u i t o u s

Pa g e 2 1

S n a p s

M o n a c o

U b i q u i t o u s

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Fd e s i g n ss

T a b l eo f

c o n t e n t sSha ron F ran ko

p o r t f o l i o p o r t f o l i o4

Typography 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 typogra-

phy 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 andold books, but from others it is largely hid- den. 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 tech-niques, 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, nev-ertheless, 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,6and 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 direc-tions. A typographer determined to forge new routes must move, like other solitary travel-lers, 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 individu- ally chosen points of de-parture. By all means break the rules, and break them beauti-fully, 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

biquitous TypeThe presence of ty pography both good and bad, can be seen everywhere.U

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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 individu- ally chosen points of de-parture. By all means break the rules, and break them beauti-fully, 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 rec-ognize, whether it comes from Tang Dynasty China, The Egyp-tian 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 spe-cies. Dogs and ants, for example, read and write by more chemical means. But the un-

derlying 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, ofIt is true that typographer’s tools are pres-ently 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, speak-ing 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.

biquitous TypeThe presence of ty pography both good and bad, can be seen everywhere.U

“Typography is the craft of endowing human language with a durable vi-sual form, and thus with an indepen-dent existence.”

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I love random mo-ments especially run-ning through a sunny day while being so busy as usual

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I initially had the initials of my boyfriend and me in this scrapbook but I replaced it with this snickers wrapper.

I’m very into always being happy and doing anything to be happy, even if you have to fake it till you make it. It’s important to me.

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SNAPWhen we were first assigned to do the snap project I was very confused. I thought it wouldnt be beneficial to me as a graphic designer in any way possible. But, little did I know! Typography class allowed me to play around with type in ways I never thought of before. I got inspired by my classmates work and saw many results in my work. The snap project taught me to work within certain guidelines. Those guidelines bothered me at first, but it allowed me to be even more open minded and to try things I would originally consider boring, or a waste of time. What I also learned is that there are plenty of people in which we can learn from. Like Noam Chomsky, Yoko Ono, Solmon Rushdie, Saul Bass and more. We can lear from their creativity, life experience, and even ways of life. Overall my snap experience passed by in a snap, but left a very positive imprint on my creative journey here at FIDM.

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snaplierary journal

issue six volume 1

in this issue:saul bass

noam chomsky

roland young

yoko ono

solmon rushdie

SNAP

Sharon Franko

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nitenerary journal

in this issue:

saul bassr

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o dan

n

y

yoko onosolmon rushdie

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Sharon Franko

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in this issue:solomon rushdieyoko onosaul bass

roland younglit

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y jou

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Sharon Franko

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niterary journal

saul bass

noam chomsky

roland youngsolmon rushdie

issue six volume 1 pas

Sharon Franko

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nitenerary journal

in this issue:saul bass

noam chomsky

roland young

yoko onosolmon rushdie

issue six volume 1pas

Sharon Franko

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SnAP

LiterarY

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NoaM

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YokO

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Sharon Franko

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Sharon Franko

snapliterary journalissue six volume 1in this issue:saul bass noam chomskyyoko ono roland youngsolmon rushdie

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sasnapliterary journalissue six volume 1in this issue: yoko ono

solmon rushdiesaul bass

roland young

Sharon Franko

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sna pliterary journal

issue six volume 1

in this issue: solmon rushdie saul bass ro-land young yoko ono

snapSharon Franko

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monaco

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FONT BIO

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FONT BIO

Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland).

The design is based on the grotesques of the late nineteenth century, but new refinements put it in the sans serif sub-category of neo-grotesque. Shortly after its introduction, the Stempel foundry purchased the original Helvetica typeface and developed a full series of weights. In the 1960s Helvetica came to the United States, where alignment standards differed; Mergenthaler Linotype copied the Stempel series and then added several new versions of the design. Helvetica is an all-purpose type design that can deliver practically any message clearly and efficiently.

The condensed and compressed Helvetica designs are excellent for display applications such as newspaper or newsletter headlines, billboards, and advertising.

The basic design of Helvetica Rounded is the same as the design of the standard Helvetica typefaces. Designed in 1980, it differs only in the stroke endings, which are rounded rather than squared off. The overall effect of this display type is more playful and friendly than its traditional relative.

helvetica