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Anatomy of Type

Understanding Anatomy

Individual letter forms have unique parts which have changed in visual form over the centuries. A nomenclature helps identify major elements of their construction. The evolution of lettering styles over time is a result of optical adjustments to the basic components by type designers over the ages.

Finding a visual answer. Overlap to discover the remarkable range that exists between historic families of type even though they have the same point size. This means that every different family has subtle but important changes in the letters. Certain families of type wont look well together due to the difference in kerning or size of letters. Baseline and stroke are the only 2 similarities between families.

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Legibility: Word & Letter

Anatomy Cropping

The top half is more legible than the bottom when you cut the word in half. Humans are most used to reading from top to bottom and left to right, making it easier to read the top of words. I had gotten rid of about half the letterforms in the lower word and was still able to read it. You become aware of how you can crop/cut parts of a letter off and still make it read.

Anatomy and cropping. Due next class. Your word should be set in 3 classic type families at 100pt regular style. Crop each letter of each word in its given family using a square that is 1.5 x 1.5 inches. Constants- You must crop with

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Form/Counterform Cropping Studies

Fundamental to all typographic design is the interplay between letterform and background. An awareness of this inter-relationship of form and counterform is essential in typographic design. Every letterform denes a particular counterform. Form and counterform are reciprocal values and completely interdependent and integral to a letters completeness as a design. The counterform is not just whats left over in the background. The counter form is a new entity that emerges through

interaction with the form. Typically these counterforms are either geometric or organic in quality depending on the structure or style of the letter. In the counterforms of letters there exists a fascinating world of form waiting to be explored by the designer.

Counterpart/ Counter Point

Anatomy of Type: Counterpart & Counter Point

Counterpart/ Counter Point

When creating a visual hierarchy in typographic space, a designer balances the need for harmony, which unies a design, with the need for contrast, which lends vitality and emphasis. As in music, elements can have a counterpart or a counterpoint relationship. Typographic counterparts are elements with similar qualities that bring harmony to their spatial relationship. Elements have a counterpoint

relationship when they have contrasting characteristics, such as size, weight, color, tone, or texture. Counterpoint relationships bring opposition and dissonance to the design.

Typographic Kinetics

Assignment 6: Structure of the Letter

Every letter has a personality you can identify. Fragmentation is not the goal in and of itself. Everything is adjustable and its a case-by case decision of how far to go. The form you seek is one that to be able to read the word. So this determines the degree of fracture. Its the part(letterform) towhole (word). Both must be juggled to value.

You cant use the same element over and over just because it worked in one place. Every example should change somewhat. Because range is a persistent goal of design, you want to invent in each example. Expect some noble necessary part of any assignment.

While upper and lower case letters are distinct in structure, they all are built by combining 4 strokes; vertical, horizontal, slanted, and curvilinear. These elementary strokes form the foundation, a visual code that is recognizable through our long experience with reading and writing regardless of style.

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Assignment 6: Structure of the Letter

Structuring A Typographic Page Phase One: Letterform Interpretations

Therefore, letter forms derive their visual character from combinations of these basic strokes and not from being light or bold, wide or narrow, Roman or italic, sans serif or serif. An entire alphabet can be categorized using only six basic underlying visual combinations of strokes as the example illustrates.

Using the initials of your designer, impose the letterforms in a typographic study that interprets a relationship to the form of the chair they designed. You can crop and place the chair or the type in any position within the rectangle as long as it never occupies visually anymore than about 50% of the overall format. Space is what we are learning to use. Dont choke it out. GOAL: discover form relationships between letters and a chair and subdivide the space of a page.

Structuring A Typographic Page Phase Two: TEXT... words and a message

Chair Hang Tag

Type generally falls into two primary Using the designers name, the name of the chair, and the date of its manufacture, im- pose the words in a typographic study that demonstrates relationships to the chair. You can crop and place the chair or the type in any position within the rectangle as long as it never occupies more that 50% of the overall space. The format is the same as Phase One. categories; informational and or expressive. Its not uncommon to have a strategy for both present in layouts. Informational text is more common and the form responds to long traditions and conventions of size, spacing and established habits of organization on the

page. In a book or website it is information design that takes the lead. On a poster or motion graphics expression could lead. The ratio is determined by the designer and the needs of the communication. An emphasis or hierarchy must be clear and decisive so the roles each plays in the communication are clear. In design things are not equal.

Chair Hang Tag

Chair Hang Tag

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