y

k
.9

Komai

No

1949
39

Ra

Anatomy of Type

1.2 Understanding anatomy

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.

Bourgeoisie
terminal serif hairline stroke descender aperture link loop

Joint shoulder

x height

Bourgeoisie Bourgeoisie Bourgeoisie

contour stem

spine

eye tittle ear

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

Bourgeoisie Bourgeoisie Bourgeoisie

Assignment - Form/Counterform

Assignment - Form/Counterform

sx

sx
b

s
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

R D

Q B

g R

r Rr g g e E
G
Ian Plath

sx
g

s b
K Q K
Denotes counterpoint realtionship Denotes counterpart realtionship

GE O BU R EOi S E O

Ian Plath

ii i
i
S
E

s sx b s U o
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

to read the word. So this determines

Ian Plath

sx

o
B

e
e

s o

Assignment - Form/Counterform

your name Assignment 6 - The Structure of Letters

The Structure of Letters The most elementary forms of letters are a Whileof upper and lower case letters visual code 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 slanted, and curvilinear. vertical,horizontal, horizontal, slanted, and curvilinear strokes. Letter elementary forms derive strokes their character from These form the combinations of these basic strokes and not foundation, a visual code that from being light or bold, wide or narrow, Roman recognizable through our long or italic,is sans serif or serif. An entire alphabet 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. forms derive their visual character

Ge i

u Bo R
Helvetica

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

stroke categories:

ABCD EFHILT KWNY VWX AZ

abcd fijlt k vwxy

can be categorized using only six basic underlying visual combinations of strokes as the example illustrates.

i
o

B o uRGe

i
o

BDGJPRU COQS

abdghmnpqru ceso

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. >

Unit 2 - Typographic Page

Unit 2 - Typographic Page

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

Unit 2 - Typographic Page

Unit 2 - Typographic Page

9 3 9 . No
R A Y
RA
Y

1 9 4 9
K o m a i

1949
KO
MA I

. o N

9 3 9

No. 9 93

1949
Ray

Komai

19
R ay

49

Ko m ai

Unit 2 - Typographic Page

Unit 2 - Typographic Page

o K
No

i a m
RAY
1949

. 9 39

No. 939

19 4

Unit 2 - Typographic Page

Unit 2 - Typographic Page

R
K

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

Phase 3 Chair - Muti-page Typographic Layout and the Grid

inside

inside

front

9 39 .oN
1 9 4 9
K o m a i Y A R