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COVER

Jessica Luloh

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

Ascender

Counter

Apex

Arm

Bowl

Spur

Eye

Capline Meanline x-height Baseline

Aggrivates
Descender Stroke Terminal Fillet Loop Hairline

Link

Serif

Eye

Spine

Loop

Stem

Ear

1.2 Understanding anatomy

Anatomy of Type There are many ways to interpret text. When mixing families of type they cannot be mixed because even though they are the same point size the differences between the families are too great. Two things they do share in common though are the baselin and stroke.

Aggrivates Aggrivates Aggrivates

Anatomy of Type By covering up the upper and lower halves of the letter forms we nd that top halves are more easily recongizable than the bottom.

Aggrivates Aggrivates Aggrivates

Unit 1.3 Typographic Kinectics

Anatomy of Type

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.

A
A

gr va t e g r iv at r a e g v t s
r

gg

Single Letter

Anatomy of Type

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.

Double Letter

Anatomy of Type

Counter Forms When creating a visual hierarchy in tyopgraphic space, a designer balances the need for hamony which unies a design, with the need for contrast, which lends vitality and emphasis.

Anatomy of Type As in music, elements can have counterparts or a counterpoint relationships. Tyopgraphiccounterparts are elements with similiar qualities that bring harmony to their spatial relationship. Elements have counterpoint relationship when they have contrasting characteristics, such as size, weight, color, tone, or texture. Counterpoint relationships bring opposition and dissonance to the design.

The Structure of Letters

Anatomy of Type The most elementary forms of letters are a visual code of simple strokes that is recogniz- able through our experience with handwriting. Each of the upper and lower case letters is distinct in structure. All are built by combining vertical, horizontal, slanted, and curvilinear strokes. Letter forms derive their 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.

MK

tlijf

VWX

vxwy

AZ

BDPRUJG

bdpqgrmnua

QSCO

ceos

Tyographic Page with a Chair

Using the intials of your designer, impose the letterforms in a typographic study that interprets a relationship to the form of the chair they designed. The goal is to discover relationships in form and division of space. Then, using the designers name, the name of the chair, and the date of its manufacture, impose the words in a typographic study that demonstrates relationships to the chair.

Title of the Project

Title of the Project

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Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

Title of the Project

Title of the Project

Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

weight, size

size, case

Title of the Project

Title of the Project

Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

size

tonality

Title of the Project

Title of the Project

Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page. Brief description of the project presented on this page.

size, tonality

size

Chair Hang Tag

Type generaly falls into two primary 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 grpahics expression could lead. The ration is determined by the designer and the needs of the communication. An emphasis of heiarachy must be clear and decisive so the roles each plays in the communcication are clear. In design things are not equal.

Title of the Project

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presented on this page. Brief description of

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