COVER

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The attributes of the anatomy of type by
family always vary which makes variations
visually based on the historical period the
face is designed for. This means for the
designer that there is many alterations
and different effects used for different
purposes. You do not mix families of
typography because it visually weakens
and has too much style and form. It would
look like a accident.It is not uncommon
to mix a serif family and a non san serif
family. Its done because there is a clear
visual separation in the forms of these
2 major categories. Mixing the old with
The top half of words are usually always
more legible when divided. Our eyes
scan the mean line while reading. The x
height determines the visual size of type.
A fragment of a letter can be readable the
can eye complete the form if a part is
unique to others.
Anatomy of type

Anatomy of Type | Legibility
Amplifying Amplifying Amplifying Amplifying
Amplifying
Amplifying
Amplifying
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 these basic
components by type designers over the
ages. Manipulation or drafting letter forms
requires an application of these basic
elements successfully.
Anatomy of type
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Each individual square and its letter form
is seen as an independent typographic
composition that investigates form and
counterform, gure ground relationships,
asymmerty / symmetry, static and dynamic
placement.
Anatomy of Type | Cropping
Sequential compositions emphasizing
rhythmic pattern and punctuation as
dynamic ow while pushing the readability
to the extreme. Each example articulates
aurally and visually the typographic
details within each composition as well as
the whole.
Typographic Kinetics
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Fundamental to all typographic design
is the interplay between letter form and
counter form. Form and counter form
are reciprocal values and completely
interdependent and integral to a letters
completeness as a design.
Form and Counter Form | Single Letter
Form relationships of counterparts
and counterpoints are established by
frequency of appearance. Counterparts,
through repeted use, establish the rule.
Counterpoint, by its appearance only once,
functions as the exception to the rule.
Counterpart Counterpoint
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Single letter_ form and counterform Two letters_ form and counterform
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These two images are important to
typography in the historical evolution. It
shows the original function of typography
in handwriting for fundamental
communication. They both show a
construction of strokes. The image on
the left is an engravement. with a chisel
and the image on the right has geometric
elements of a triangle, square, and circle.
The Structure of Letters/Uppercase and
Lowercase
Using the initials of mydesigner, I imposed
the letterforms in a typographic study
that interprets a relationship to the form
of the chair they designed. The goal was
to discover relationships via form and
division of space. relationships to the chair.
Then using the designers name, the name
of the chair and the date of its manufacture
or materials used to create the chair, I
imposed the words in a typographic study
that demonstrates relationships to the
chair.
Typographic Page
LHFETI tlijf
NMYK k
VXW vxwy
AZ z
DPBUJRG bdpqghrmnua
COQS ceos
The Structure of Letters
These two images are important to typography
in the historical evolution. It shows the original
function of typography in handwriting for
fundamental communication. They both show
a construction of strokes. The image on the left
is an engravement. with a chisel and the image
on the right has geometric elements of a
triangle, square, and circle.
lowecase
< Everything should be visually aligned >
EFHILT abcd
< Univers regular 55, 18/66
uppercase
Basic strokes :
VWX vwyx
AZ z
UBDGJPR zbdghmnpqru
COQS ceos
KMNY k
< text placed here, follow the egrid >
Le Corbusier
B301
1928
While upper and lower case letters
are distinct in structure, they all are
built by combining 4 strokes; vertical,
horizontal, diagonal, and curvilin-
ear. These elementary strokes form
the foundation, a visual code that
is recognizable through our long
experience with reading and writing
regardless of style. Therefore, letter
forms derive their visual character
from combinations of these basic
strokes and not from being light or
Roman Capitals
size / weight
case / weight size / weight
Typographic Page Typographic Page
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size / weight / slant / face / width
size / weight / face
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Typographic Page Typographic Page
case / size / weight /slant
size / width / slant
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size / weight / case / slant
Typographic Page
size / weight /face / width / slant case / size / weight / slant
size / weight / case / slant size / width / slant
Typographic Page
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CHAI R
Le Corbusier
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Le Corbusier was a
prolifc Swiss-French
designer of architect,
painter, writer, urban
planner and pioneer of
modern architecture.
He was born in 1887
and died in 1965.
Corbusier once said
To create architecture
is to put in order. Put
what in order? Function
and objects. Tat is a
clear job description of
how he accomplished
his work using the space
around him
Corbusiers idea was
to have elegant tubular
steel furniture, which
emphasized the func-
tionality of the simple
tilting mechanismwhile
the back is pushed
forward and supported
at the same time. His
philosophy of the
chair was to purposely
depart the right angles
fromthe rest of the
construction of the
formto emphasize the
comfort the chair had
to ofer and the unique
reclining seat
amous chair he de-
signed was the B301.
It was designed in 1928
and produced the same
year. Te materials
included chrome-plated
tubular steel, leather,
steel spring, and calf
skin available upon
request.
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Le Corbusier was a prolifc
Swiss-French designer of
architect, painter, writer,
urban planner and pioneer of
modern architecture. He was
born in 1887 and died in 1965.
Corbusier once said To create
architecture is to put in order.
Put what in order? Function
and objects. Tat is a clear
A famous chair he designed
was the B301. It was designed
in 1928 and produced the same
year. Te materials included
chrome-plated tubular steel,
leather, steel spring, and calf
skin available upon request.
Corbusiers idea was to have elegant tubular steel
furniture which emphasized the functionality of
the simple tilting mechanismwhile the back is
pushed forward and supported at the same time.
His philosophy of the chair was to purposely depart
the right angles fromthe rest of the construction of
the formto emphasize the comfort the chair had to
ofer and the unique reclining seat.
back
L
Hangtang Templates
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.
The attributes of the anatomy of type by
family always vary which makes variations
visually based on the historical period the
face is designed for. This means for the
designer that there is many alterations
and different effects used for different
purposes. You do not mix families of
typography because it visual weakens and
has too much style and form. It would look
like a accident.
Anatomy of type When it comes to mixing families of type
what can be done and what cannot be
done?
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