PortFolioMADISON ONGSTADSPRING 2016 “an exploration of the history,

usage and terminology of type

as used in the graphic arts.”

FASHION INSTITUTE OF DESIGN & MERCHANDISING

2 As a graphic designer living in the growing city of Los Angeles, I find myself being constantly inspired by my surroundings and interested in representing myself through my experiences in the city. Mixing elegance and grace with street and urban has allowed me to expand my mind to all different cornors of the design world. I tend to favor the sleek and modern look but vintage lettering and colors can be seen in my works as well.

Table of ContentsLogo & About me

fonts used

terms

logo design

chacater study [A]

character study [V]

poster design

ubiquitious type

sketchbook

newsletter

pop!

2

4

5

6-7

8-9

10-11

12-13

14-15

16-19

20-21

22-31

4fonts usedfuturaimpacthelvetica neuebebas neuedidothemmetcarnivalee Freakshow

Brush ScriptMinion ProITC Avant Garde ChalkdusterPT Sans NarrowApple Symbolssuperclaredonhelvetica

punk’snotdeadblackletterphosphateamatraca grotesque

ZapfinoPT SerifCandlescriptHoeflerOriya MNSavoye LETdrybrushbubble bash

kidnapped at German Four

TYPOGRAPHY TERMS A

non-

stan

dard

(som

etim

es

deco

rativ

e) v

aria

tion

of a

cha

ract

er

that

com

es a

s an

ext

ra o

ptio

n w

ith

a fo

nt fi

le.

A sh

ort l

ine

or s

troke

atta

ched

to

or e

xten

ding

from

the

open

en

ds o

f a le

tterfo

rm.

SERI

FG

LYPH

S KE

RN I

NGTh

e ho

rizon

tal s

paci

ng b

etw

een

two

cons

ecut

ive

char

acte

rs.

TR

AC

KIN

GTh

e un

iform

am

ount

of

spac

ing

betw

een

char

acte

rs

in a

com

plet

e se

ctio

n of

text

(s

ente

nce,

line

, par

agra

ph, p

age,

et

c.).

SWAS

ɧA

deco

rativ

e ex

tens

ion

or s

troke

on

a le

tterfo

rm.

LI G

AT

UR

ETw

o or

mor

e le

tters

that

are

co

nnec

ted

to fo

rm o

ne c

hara

cter

.

GRO

TESQ

UE

A pa

rticu

lar s

tyle

or s

ubse

t of

sans

-ser

if ty

pefa

ces.

disp

lay

A po

tent

ele

men

t in

grap

hic

desi

gn, w

here

ther

e is

less

co

ncer

n fo

r rea

dabi

lity

and

mor

e po

tent

ial f

or u

sing

type

in a

n ar

tistic

man

ner

SLA

B S

ERIF

Type

face

cha

ract

erize

d by

thic

k,

bloc

k-lik

e se

rifs.

OBLI

QUE

A fo

rm o

f typ

e th

at s

lant

s sl

ight

ly to

the

right

, use

d in

th

e sa

me

man

ner a

s ita

lic

type

.

Cursive

A st

yle

of w

ritin

g in

whi

ch

all t

he le

tters

in a

wor

d ar

e co

nnec

ted.

12 P

T R

ULE

↔Th

e de

faul

t size

in d

ig i ta

l w

ord

pro c

ess i

ng.

HA

IRLI

NE

RU

LEA

thin

stro

ke u

sual

ly

com

mon

to s

erif

type

face

s.

BLAC

KLET

TER

A he

avy

angu

lar c

onde

nsed

ty

pefa

ce u

sed

espe

cial

ly b

y th

e ea

rlies

t Eur

opea

n pr

inte

rs a

nd

base

d on

han

dwrit

ing

used

chi

efl y

in

the

13th

to 1

5th

cent

urie

s.

DIST

RESS

EDA

font

pur

pose

ly b

lem

ishe

d or

m

arre

d so

as

to g

ive

an

antiq

ue a

ppea

ranc

e

calligrap

hyTh

is u

sual

ly re

fers

to

Rom

an o

r Ita

lic a

lpha

bets

w

hich

app

ear t

o ha

ve

been

writ

ten

with

a p

en o

r br

ush.

REV

ERSE

D

Whi

te c

hara

cter

s on

a

dark

bac

kgro

und

TRAN

SITI

ONA

LA

type

styl

e w

hich

is

cha

ract

erize

d by

m

oder

ate

varia

tions

in

stro

ke w

eigh

t, sm

ooth

ly-

join

ed s

erifs

, hig

h co

ntra

st, a

nd a

n al

mos

t ve

rtica

l stre

ss

Woo

d T

ype

Woo

d ha

s be

en u

sed

for l

ette

rform

s an

d illu

stra

tions

whi

ch w

ood

type

font

aim

s to

imita

te.

6

6Logo Design

&Am

persand Design Studio

Los

Ange

les,

Cal

iforn

ia

✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤✤

Graphic Designer

M omadison

ongstad

MUSUEM OF MODERN TYPOGRAPHY

THE MUSEUM OF MODERN TYPOGRAPHY

&AMPERSAND DESIGN STUDIOLOS ANGELES, CALIFORNIA

&Ampersand Design StudioLos Angeles, California

&Am

persand Design Studio

Los

Ange

les,

Cal

iforn

ia

8Character Studies

Character Studies

CHARACTER STUDIES the letter a.

No one knows why ‘A’ is the fi rst 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.)

No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.

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 fi elds, 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 fi rst letter of the alphabet.

The Phoenicians fi rst 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 Greeks further changed the alef. First, they rotated it 90° so that it pointed up; then they made the crossbar a sloping stroke. The Greeks also changed the letter name from alef to alpha. Finally, they made the crossbar a horizontal stroke and the letter looked almost as it does today.

The Romans received the Greek alphabet by way of the Etruscan traders of what is now northern Italy. While the Romans kept the design, they again changed the name of the fi rst letter–this time to “ah.” The sound “ay,” our name for the ‘A,’ was not common to the Latin language.

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 fi rst letter. There are 25 more stories.

fonts used: Modern No. 20

V Character Study VThe story of U is also the story of

our V, W and Y. In fact, the origins of U even have something in common with the F, the sixth letter of our alphabet.

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.

Sometime between 900 B.C. and 800 B.C. the Greeks adopted the Phoenician waw. They used it as the basis for not one, but two letters in their alphabet: “upsilon,” signifying the vowel ‘u’ sound, and “digamma,” for the ‘f’ sound. Upsilon was also used by the Etruscans and then the Romans, both for the semiconsonantal ‘w’ sound and the vowel ‘u’, but the form of the letter looked more like a Y than either a U or a V.

In ancient Rome the sounds of U, V, and W, as we currently know them, were not systematically distinguished. Context usually determined the correct pronunciation. As a result, the Roman sharp-angled monumental capital V was pronounced both as a ‘w’ in words like VENI (pronounced “way-nee”) and as the vowel ‘u’ in words like IVLIUS (pronounced as “Julius”).

And what happened to the Y? After the Roman conquest of Greece in the first century B.C., the Romans began to use some Greek words. They added the Greek Y to the Latin alphabet to accommodate these new additions to their vocabulary. But the sound value given to Y by the Greeks was unknown

in the Latin language; when the Romans used it in adopted Greek words it took on the same sound as the letter I.

In the Medieval period, two forms of the U (one with a rounded bottom and one that looked like our V) represented the ‘v’ sound. It wasn’t until relatively modern times that the angular V was exclusively retained to represent our ‘v’ sound, and the version with the rounded bottom was left with the single job of representing the vowel ‘u’.

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.”

10

12POSTER DESIGN

12DIDOT

the museum of modern typography

221 south grand avenuelos angeles, CA 90012

the museum of modern typograhypresents an exhibit of the creator of the fashion font...

FIRMINDIDOTJune 21-September 18, 2016

Modern typefaces, characterized by consistently horizontal stress, flat and unbracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography’s two-hundred-year journey away from calligraphy. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: in Parma, Giambattista

Bodoni (1740-1813), and in Paris, Firmin Didot (1764-1836). Didot was a member of the Parisian dynasty that dominated French typefounding for two centuries, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style. The font, Didot, is used as the masthead for both Vogue and Harpers Bazaar.

WWW.MUSEUMOFMODERNTYPOGRAPHY.COM

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 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 havea 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 departure. By all means break the rules, and break 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

Ubiquitous Type: A report on public typography

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

By Milton Glaser

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

14

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 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.

16SKETCH BOOK

16SKETCH BOOK

SKETCH BOOK16SKETCH BOOK

SKETCH BOOK16SKETCH BOOK

18NEWS LETTER

NEWS LETTER

18LETTER

LETTER

WeeklyFIDM Visit by Academic

PartnershipsRepresentatives from:Laboratory Institute of Merchandising (LIM) in Manhattan, New York on campus Monday April 25, 2016

Regents University (formerly AIU London) in London, England on campus Friday, April 29, 2016.

To Learn more contact Ben Weinberg in room 208A extension: 3405.

MOTHERʼS DAY POP UP AT THE FIDM MUSEUM SHOP

Meet current FIDM student Sky Lim, and check out her unique line of leather accessories.

Exclusively sold in the Museum Shop. Additional limited edition jewelry will be featured by alumna Rafi a Cooper.

Costume Exhibition Closing Soon!

Don’t miss FIDM Museum’s Art of Motion Picture Costume Design exhibition before it closes on April 30!Hours: Tuesday – Saturday, 10 a.m. – 5 p.m.

Help is Here for the Asking

WEEK OF APRIL 25-29

What’s going on around campus

The FIDM BookstoreThe FIDM Store is now carrying the Makeup Eraser! This amazing cloth uses only water to take off ALL of your makeup! Wow! Save yourself a trip to the beauty store and get it at The FIDM Bookstore! Quantity is limited, grab one before they’re all gone!

CAREER CENTERFOREVER 21 will be on campus April 27 interviewing for Corporate Jobs, see Job # 65928, and sign up through Career Network.SAVE THE DATE, INDUSTRY EXPO on May 11 at 10:00 a.m. to 2:00 p.m. Come network with our industry partners. ALL STUDENTS AND ALUMNI ARE WELCOME.

Assistance is available in writing, mathemat-ics, accounting, statistics, critical thinking, time management, and much more. Come to the IDEA Center, located in the Design Studio East on the ground fl oor of the Annex.M – Th: 8:00 – 5:00 p.m.F: 8:30 a.m. – 4:00 p.m. x3225 or x4558 DESIGN STUDIO EAST HOURS (computers/printers)M – Th: 7:00 a.m. – 8:00 p.m.F: 7:00 a.m. – 6:00 p.m.Sa: 9:00 a.m. – 4:00 p.m. Design Studio West is now open!Instructor-led workshops in Photoshop/Illus-trator & Sketching have begun. Stop by the IDEA Center or check the FIDM Portal for a schedule of instructors. Design Studio West HoursM – F 8:30 a.m. – 6:00 p.m.

June 2016 Graduates!Have you checked your name on the tentative grad list in room 313? Have you applied for your degree on the student portal? Any questions please see Elizabeth in room 313.

GUESS? Inc. Sustainable Product Lifecycle Course

15 selected students will be immersed in hands-on course work, labs and fi eld trips to enable them to understand, create and analyze innovative practices aiming to reduce a product’s impact on the global environment. Applications for this FREE EXCLUSIVE course are available on the portal or in suite 201, desk 5. Application and written response is due April 28th. Please contact lnavas@fi dm.edu with questions. This course is open to all current FIDM students.

Travel to New York!Spend your quarter break exploring NYC!Open to all majors. Apply on the FIDM Portal or contact: Sarah Repetto srepetto@fi dm.edu

MARCH 2016 GRADS who benefi ted from the FEDERAL PERKINS LOAN, must complete an E-EXIT COUNSELING by the deadline: Monday, May 16th. 2016.

E-Exits are available online at WWW.UASEXIT.COM

COMPLETION IS MANDATORYFailure to complete, will result in your DIPLOMA being held.If you have any questions, please call Evelyn Garcia at (213) 624-1200 ext 4292 or stop by Room 401-N.

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jasper johns

larry rivers

frank o’ hara

frida kahlo

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volume ten

in this issue:

andy warhol

roy lichtenstein

jasper johns

larry rivers

frank o’ hara

frida kahlo

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issue nine

volume ten

in this issue:

andy warhol

roy lichtenstein

jasper johns

larry rivers

frank o’ hara

frida kahlo

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issue ninevolume ten

in this issue:

andy warhol

roy lichtenstein

jasper johns

larry rivers

frank o’ hara

frida kahlo

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roy lichtenstein

jasper johns

larry rivers

frank o’ hara

frida kahlo

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PORTFOLIOMADISONONGSTAD

SPRING 2016FASHION INSTITUTE OF DESIGN & MERCHANDISING