Anatomy of Type

Overlap

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.

When using diffent fonts a designer must relize that even though they may be the same point size they are not going to be the exact same size. When it comes to mixing familes try not mix non-serif families with serif families. All familes rest on the same baseline and they all contain strokes.

Shoulder

Ascender Arm Crossbar Eye

Stem Fillet

Spine Link

Bowl Ear

Stroke

Retreading
Tail Leg Counter Serif Spur Terminal Loop Descender

Retreading Retreading Retreading Retreading

Legibility Word

Legibility Letter

The top half of the word is more legiable. This is because most of the characteristics that destinguise the letter reside on the top. I think it is more legiable to read a word when the bottom half is covered.

I can revomve the entire bottoms to letters such as t, r, i and n. I could only remover half of other letters. If a letter has a decender or an ascender i cannot remove them, but i can remove the opposite side. Any letter with an eye, I only removed half to a quauter of it. It made me aware of what denes a letter and what characteristics are important to show.

Retreading
N

Retreading Retreading

R e T R R e

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E E

A Ad I A

d I dI

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Title of the Project

Typographic Kinetics

Legibilty of Letter: Counterpart an Counterform

Within each square exists letterforms which creat a composistion to show symmetry/asymmetry,static,and dynamic placement. These are aranged and organized to give a visual ow to the words as a whole.

Contrast, balance, unication, and harmony all lend vitality and empashis to typographic space. Such relationships are developed as counterpart and counterpoint. These relationships pair elements with similar qualities however have contrasting qualities with each other such as size and weight.

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Typographic Page With Chair

Brief 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. 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 the relationship to the chair.

Size/Width

Size/weight

SIZE/CASE

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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

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.

a
weight/size

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

1
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2 5
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color/weight

obsen

Arne Jac

ARNE JACOBSEN
19 52
CHAI R
TH R
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Arne Jacobsen

1952

Chair Three Thousand One Hundred #3000100#3000100#300

300100 AIR CH

Size/weight size/case size/weight

19

52

Size/color color/case

JACoBSEN

ARNE

Arne Jacobsen. Chair Three Thousand One Hundred 1952

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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.
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as gs w ree le ith th for Novo w ned care ANT THE ally desig h health e is th origin k, a Dan own for is sh Nord ny and Hansens out b a z comp e at Frit 1952, A as m in ir w n a rst ti irthday h c itio b the 80th ths later ing exhib ecD n pr 3 mo at the s useum of rne n M me A aka show Danish c e e is b l bre at th rt. Th rnationa nd ve A orati sens inte rchitect a inent a b Jaco h as an f the prom y g o da throu t is one on to n llecti the A of the co icons

According to R. Craig Miller, autho Modern wa r of Design s, Jacobsen 19 s work is bution both an important 35-1965, What to modernism and origina and to the sp Scandinavia l contrin countries ec ic pla ce Denmark ha One migh and the t in fact argu ve in the modern move me e that much nt and conti stands for, wo of what the mo nu uld have be dern moveme es en lost and designers an simply forg nt d architects otten if Scan like Arne Ja humane ele dinavian cobsen would ment to it. not have ad ded that d, he himortion. Indee nse of prop inter view work. In an ted for his se no his is of en es bs l ancient featur tifu in au ma Arne Jaco be the the makes s as one of st admired exactly what self saw thi mo is n the tio of or prop some y were he said; The s [...] and if we look at tice that the ple que, we no Egyptian tem Renaissance and Baro . ng thi the sic of buildings re is the ba rtioned. He all well-propo

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