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Individual letter forms have unique parts
which have changed in visual form over
the centuries. A nomenclature helps iden-
tify 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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mean line
capline
base line
x-height
Overlap
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 design-
er? 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?
This allows us to see that the different
typefaces have their own reason and feel-
ing.The baseline and the stroke are similar.
The letters are similar in all fonts, however
the Gs are different which can cause a
hiccup with your eyes.
Indulgence Indulgence Indulgence Indulgence
With Fill
Without Fill
Century
Bondi
Futura
Serifa
Fundamental to all typographic design
is the interplay between letterform and
background. Every letterform denes a
particular counter form. Form and counter-
form are reciprocal values and completely
interdependent and integral to a letters
completeness as a design. The counter-
form is not just what is left over in the
background. The counterform 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. An
awareness of this inter-relationship of form
and counterform is essential in typograph-
ic design.
Anatomy of type | Single Letter
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.
The top word is more legible.We read from
top to bottom or left to right so naturally
this feels easier.
How much of the letterform can you
remove and still read the word? What do
you become aware of? For the word indul-
gence, i can only eliminate a few letters. A
lot of the letter shapes are similar so if too
much is elminated, the word becomes to
hard to read.
Legibility word Legibility letter
Indulgence
Indulgence
Indulgence
g
Anatomy of type | Cropping Studies
Anatomy of type | Counterpoint and Counterpart
Anatomy of Type | Counterpart and Counterpoint
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When creating a visual hierarchy in ty-
pographic space, a designer balances
the need for harmony, which unies
a design, with the need for contrast,
which lends vitality and emphasis.
As in music, elements can have a
counterpart or a counterpoint rela-
tionship. T ypographic 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 relation-
ships bring opposition and dissonance to
the design.
Anatomy of Type | Counterpart and Counterpoint
Every letter has a personality you can iden-
tify. 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 de-
gree 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 ex-
ample. Expect some noble necessary part
of any assignment.
Anatomy of Type | Typographic Kinetics
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The most elementary forms of letters
are a visual code of simple strokes that
is recognizable 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.
Anatomy of Type | The Structure of Letters
While upper and lower case letters are
distinct in structure, they all are built by
combining 4 strokes; vertical, horizontal,
slanted,and curvilinear. 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 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.w
Anatomy of Type | The Structure of Letters
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VXW vwxy
AZ z
BDPRJU abdghmnpqru
CGOQS ceos
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
Structuring a Typographic Page
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Weight + Width
Size + Case
Structuring a Typographic Page
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Size + Weight
Size + Width
Weight +Case +Face
Weight + Face
Structuring a Typographic Page Structuring a Typographic Page
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Gerald
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Size + Weight
Size + Case
Size + Weight + Case + Face Weight + Slant
Structuring a Typographic Page Structuring a Typographic Page
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 heiarchy
must be clear and decisive so the roles
each plays in the communication are clear.
In design things are not equal
Chair Hang Tag Chair Hang Tag
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Gerald Summers
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In the history of industrial design there have
always been attempts to shape everyday objects
in only one piece of seminished industrial material
like rods, tubing, wire, or sheets. There is hardly
a design that better illustrates the ideal unity of
material, production and form, however, than this
armchair by Gerald Summers.
Following a simple pattern, Summers separated the
back legs from the back and armrests and bent the
segments thus created in different directions.
His admirably simple construction dis-
penses with connectors and almost with
of-cuts, using one single sheet of plywood.
Following a simple pattern, Summers
separated the back legs from the back
and armrests and bent the segments thus
created in diferent directions.
Possibly the chair was
conceived for use in the
tropics. With its smooth
surface and lack of
metal connectors, it is
hygienic and deterio-
rates only gradually.

There is hardly a design that better illustrates the ideal

unity of material, production and form, however, than this
armchair by Gerald Summers.
His adm
irably sim
ple
construction dispenses
w
ith connectors and
alm
ost w
ith off-cuts,
using one single sheet
of plywood. Follow
ing a
sim
ple pattern, Sum
m
ers
separated the back
legs from
the back and
arm
rests and bent the
segm
ents thus created
in different directions.
Possibly the chair
was conceived for
use in the tropics.
W
ith its smooth
surface and lack of
metal connectors,
it is hygienic and
deteriorates only
gradually.
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erald G
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T h e r e i s h a r d l y a d e s i g n t h a t b e t t e r i l l u s t r a t e s t h e i d e a l
u n i t y o f m a t e r i a l , p r o d u c t i o n a n d f o r m , h o w e v e r , t h a n t h i s
a r m c h a i r b y G e r a l d S u m m e r s .
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