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Anatomy of Type
Individual letter forms have unique parts which have changed in visual formBrief description of the project presented over the centuries. A nomenclature helps identify major elements of their on this page. Brief description of the project presented on this page. Brief Which is more legible when covered, the bottom half of the word or the top half of the word? When the bottom half of the word is covered it is more legible. How much of the letterform can you remove and still read the word? What do you become aware of? Overlap to discover the remarkable range that exists between historic families of type even though they have the same point size. What does this mean for the designer? When it comes to mixing families of type what can be done and what cannot be done? What are the only 2 anatomical attributes that all families share?
construction. The evolution of lettering description of the project presented on styles over time is a result of optical this page. Brief description of the project adjustments to the basic components bypresented on this page. Brief description of type designers over the ages. the project presented on this page.
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terminal serif hairline stroke descender aperture link loop
Joint shoulder
x height
contour stem
spine
bowl
capline
baseline
1.2 Understanding Anatomy How much of the letterform can you remove and still read the word? What do you become aware of?
Assignment 5 - Form/Counterform 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. 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
Assignment - Form/Counterform
Assignment - Form/Counterform
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Denotes counterpoint realtionship Denotes counterpart realtionship
Ian Plath
Assignment - Form/Counterform
Assignment - Form/Counterform 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
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Ian Plath
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Denotes counterpoint realtionship Denotes counterpart realtionship
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Ian Plath
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the degree of fracture. Its the part(letterform) towhole (word). Both same element over and over just because it worked in one place. Every example must be juggled to value. You cant use the should change somewhat. Because range is a persistent goal of design, you want to necessary part of any assignment. invent in each example. Expect some noble
Ian Plath
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Assignment - Form/Counterform
The Structure of Letters The most elementary forms of letters are a While upper and lower case letters visual code of simple strokes that is recognizable through our experience with handwriting. are distinct in structure, they all are Each of the upper and lower case letters is built by combining 4 strokes; vertical, distinct in structure. All are built by combining vertical, horizontal, slanted, and curvilinear horizontal, slanted, and curvilinear. strokes. Letter forms derive their character from These elementary strokes form the combinations of these basic strokes and not foundation, a visual that from being light or bold, widecode or narrow, Roman or italic, sans serif or serif. An entire alphabet is recognizable through our long can be categorized using only six basic experience with reading and writing underlying visual combinations of strokes as the regardless of style. Therefore, letter example illustrates.
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forms derive their visual character from combinations of these basic strokes and not from being light or bold, wide or narrow, Roman or italic,
stroke categories:
sans serif or serif. An entire alphabet can be categorized using only six basic underlying visual combinations of strokes as the example illustrates.
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See page 26 for the description of this template. Define it i your own words here. Explain its importance to typography in 8/10 Univers Light. >
This unit focuses on the basic structural principles that lead to successful subdivision of space using typography and image. We will be working both analytically and experimentally in order to arrive at a more complete understanding of these principles. modern chair and typography = form space= counterform
Ra y
No .9
Komai
1949
39
No. 939
1949
Komai
9 3 9 . No
R A Y
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K o m a i
1949
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No. 9 93
1949
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Phase 3 Chair - Muti-page Typographic Layout and the Grid Type generally 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 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. front
inside
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