Illuminated Manuscripts

Modern Day Example:

Brochures from the S.S. Ile DeFranke (Artist could be David Levine)

Source 1

Source 2

Marine Building in Downtown Vancouver

Source of Photo

Dark Ages Manuscripts:

The Book of Durrow from presentation

Event: Since I was a little girl I tried to convince my grandfather into getting me a pink tractor for me to use in the hayfield. He always said, "One day your Uncle will let you have a pink tractor." I believe this was a lesson in patience from my family to get the pink bobtail. It is exciting to see a propane truck in a different color from white.

For my illuminated manuscript, I wanted to capture the color as well as the flames. The branch this is going to is Reliable Propane so I am going to begin my manuscript with the initial cap of a letter R. On the R, I am adding flames as detailwork, as well as, elements of a bobtail. The benefits go to cancer organizations so I am thinking of adding details of the ribbons for cancer. Below are my sketches.

Word List:

Sketches: 

Flame Inspiration:

Source

Process:

Font Choice for body on dafont.com

Set the guides for my document

Put in the filler text

 Put in the subhead text and background.

Chose font for initial cap.

Colored the fonts and added more details

 Created type outlines for my R.

 Started moving the leg to where I wanted it.

It did not work. I fixed it by changing to a P for propane

Added more circles to make sure it is aligned and space if filled.

Word Play

Word List:

Sketches:
The first things that came to mind to use in my sketches were a door, book, can, jar, or a door lock.
I narrowed it down to the door and door lock as my final drafts on the word play. I am going to incorporate the door lock into the center of the o and use the P and E as open doors in the middle of the square. For color I believe I am going to go with black and white. So I can create shadows with the doors and to help develop a foreground, middle ground, and background.

I started with Impact as the font and created outlines on the text. I deleted the center out of the "O"

 I created a circle and a rectangle and moved the endpoints into the circle for the middle of the "o".

 I colored it white to start an overlay on the "o" as well as create it as a shape.

 Once I positioned it into the "o" I used the Pathfinder to delete it out of the center of the "o".

 I started adjusting the P shape to put onto the perspective grid.

 Once I put it into the perspective grid it made it more on a perspective put the bottom was not correct.

The "e" I put on the perspective grid also. It did not adjust the E's bottom to be cocked.

 I added a doorway to line the tops and bottoms of the letters.

 I then adjusted the P's bottom and put it next to the O. I tried changing the 'o' to a square, but it was too much black.

I reverted back to the old style o and put near the p. I do not like them so close

 I added a gap to give it air in between the letters/

I stretched the letters up so they stand like doors.

I started to add shadows to the bottom of the square. The shadows were too long so I raised the letters taller and made the shadows smaller.

Then I adjusted it to be the full 4 x 4 square. I did not use color for the project because I felt it was effective without it. The color palette I thought was to use brown for the letters and that was not a significant change to me.

Definitions

Definitions:

Baseline: The imaginary line where the characters sit on

Beardline: is the descender height, where the bottoms of the descenders are

Capline: the imaginary horizontal line that runs across the tops of the uppercase letters.

X-height: the height of the lowercase x, which defines the height of the lower case letters.

Alignment: Position of text within the page margins

Apex: the point created by joining to diagonal stems at the top of a letter

Arm: short strokes off the stem of the letterform

Ascender: part of the lowercase letter that is taller than the x-height.

Bowl: the rounded form that describes a counter. The bowl may be either open or closed.

Counter: anatomy that is entirely or partially enclosed by a letterform or a symbol

Crossbar: the horizontal stroke in a letterform that joins two stems together

Descender: part of the lowercase letter that goes below the baseline of the other lowercase letters.

Ear: the stroke extending out from the main stem or body of the letterform

Eye: enclosed space in a lowercase “e”

Grid: structure made up of a series of intersecting straight or curved guidelines,

Hairline:  Is the thinnest stroke found in specific typefaces that consist of strokes of varying widths.

Leg: short strokes off the stem of the letterform, either at the bottom of the stroke or inclined downward

Link: the stroke that connects the bowl and the loop of a lowercase g

Serif: strokes that are added at the end of a letter’s main strokes.

Shoulder: the curved stroke that is not part of a bowl

Spine: the curved stem of the S

Spur: the extension that articulates the junction of a curved and rectilinear stroke

Stern: the significant vertical or oblique stroke

Stroke: any line that defines the basic letterform

Tail: the curved or diagonal stroke at the finish of certain letterforms

Terminal: the self-contained finish of a stroke without a serif.

Capitals: Larger letters compared to lowercase letter, usually used at the beginning of sentence,

name, etc.

Lowercase: smaller letters compared to uppercase

Small caps: uppercase letters at the x-height of the typeface

Lining figures: modern style of numerals where all figures are the same height and the rest on the baseline

Old style figures: Style of Arabic numerals where the characters appear at different positions and heights.

Monospace: every character takes up the same amount of horizontal space.

Line-length: distance between the left and right edges of a text block.

Ligatures: Two or more letters tied together into a single letter.

Serifs: A type that has a serif extended on the letter’s ends

Weight: Darkness of the characters in typefaces within a type family (i.e. thin, light, bold, black, etc.)

Width: Variations of type, such as extended or condensed.

Posture: angle at which a given typeface is set

Stress: the orientation of the letterform, indicated by the thin stroke in round forms

Font: Weight width and style of a typeface.

Type family: multiple types that are designed together and used together.

Slab serif: Square serif that is larger or bolder than serifs of previous typefaces.

Justification: Alignment of the tops, bottom, sides, and middle of text or graphics to both the left and right margins,

Tracking: Space between characters in a block of text.

Kerning: Space between individual characters in a line of text.

Postscript: It contains fonts for a screen and the printer. They allow for high-resolution printing.

Open type: Screen and printer font is contained in a single file, compatible with Windows and

Mac.

Points: a unit of measure where approximately 72 points to an inch.          

Picas A unit of measure that is approximately 1/6^th of an inch. (equal to 12 points)

Rivers: gaps in typesetting that run through a paragraph of text due to coincidental alignment of spaces

Dingbats Typefaces that consist of symbol characters such as decorations, arrows, and bullets.

Typeface Letters, numbers, and symbols that make up a design of type.

Widows: paragraph ending line that falls at the beginning of the following page/column

Orphans: a paragraph opening line that appears by itself at the bottom of a page/column

Sources: Adobe ,John Kane  A Type Primer, Typography Deconstructed

Letterform

"Linowrite" by LennardGlitter

Source: dafont.com

I chose "Linowrite" by LennardGlitter because it reminds me of a classical look of typewriter key. The form of the capital "M" has an elongated middle to  meet the foots of the side at the baseline. It has a natural chunk to it making it look like it is being stamped to the paper with a little bit of a blur on the edges and white space in the letter. showing the imperfections used with a type writer smearing on paper. The serif part of the letter curves into where the stem meets the serif. I feel like this is a way to bring the eye into the letter  form. The outsides of the serif also have a round end instead of fading smaller on the end. It helps in influencing the letter's weight. The negative space of the middle of the "m" is almost closed to two shapes. It is exactly mirrored to the other side creating balance within the letter. The negative space of the "v" is very deep in its shape and has a small point into the black part of the letter.

I chose the font for its clean form and its overall look of being rounded and representational of a typewriter key.

About Me

My name is Maddie Froman. I am studying Graphic Design and in my senior year. I have been in Adobe software through junior high, high school, and college. I am most familiar with Illustrator, Photoshop, and InDesign. Most of the projects I work on outside of class are for organizations, such as churches, non-profits, and other local groups. Every once in a while I work with other designers on larger projects. 

I grew up in Claremore, OK for my entire life. My family owns a local propane company and that is where I work outside of class as the IT Department, Graphic Designer, and commercial account representative. Outside of class I mostly work, but I like driving vintage cars and trucks, playing piano, and spending time with my family.

I do not have a specific plan for life yet, but I will continue during the day working at our propane company and at night I am planning on doing graphic design on the side. I like to do work with local groups on their designs because I get to know them and that helps while trying to capture their group.