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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.
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.
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
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. Brief
description of the project presented on
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presented on this page. Brief description o
the project presented on this page.
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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.
Anatomyof Type
Spontaneousspine
serif
bowl
hairline
decender
filet
shoulder
counter
eye
crossbar
arm
tail
loop
stroke
spur
meanline
baseline
capline
x-height
beard line
Since the time of the Greeks, capital
letterforms have consisted of simple
geometric forms based on the square,
circle, and the triangle. The basic shape of
each capital letterforms can be extracted
from the Roman letterform template found
on the Trojan Columns which is composedof a bisected square, a circle, a triangle, an
inverted triangle, and two smaller circles.
The Structure of Letters
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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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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.
Brief description of the project presented
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project presented on this page. Brief
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When cropping type the top half is more
legible because your eye is programmed to
read from left to right top to bottom.
Anatomy of Type
SpontaneousSpontaneous
Spontaneous
There is a large range that exists between
historic families of serif and san serif type
and the only two anatomical attributes that
they share in the base line and stroke. This
is why the designer should never mix type
families because the spacing and height
will not coincide. The only exception to this
rule is when the designer needs to achieve
contrast.
Anatomy of Type
SpontaneousSpontaneousSpontaneousSpontaneous
Gill SansBaskerville
Serifa
Futura
With Fill
Without Fill
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Title of the Project Title of the ProjectAnatomy of Type I Cropping Studies
Anatomy of Type I Form Counterform
Fundamental to all typographic design
is the interplay between letterform and
background. Every letterform defines 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 counter-form
is a new entity that emerges through
interaction with the form. Typically these
counter-forms 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 counter form is essential in
typographic design.
Anatomy of Type I Single Letter
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Brief description of the project presented
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project presented on this page. Brief
description of the project presented on
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presented on this page. Brief description of
the project presented on this page.
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When creating a visual hierarchy in typographic
space, a designer balances the need for
harmony. which unifies a design, with the need
for contrast. which lends vitality and emphasis.
As in music, elements can have a counterpart
or a counterpoint relationship. Typographic
counterparts are elements with similar qualities
the bring harmony to their special 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.
Anatomy of Type Counterpart and CounerpointAnatomy of Type counterpart and counterpoint
denotes counterpoint realtionships
denotes counterpart relationships
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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. Brief description of
the project presented on this page.
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Brief description of the project presented
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project presented on this page. Brief
description of the project presented on
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presented on this page. Brief description of
the project presented on this page.
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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. Letterforms 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 I T he Structure of Letters
fijlt
k
vwxy
z
abdghmnpqru
ceos
EFHILT
KMNY
VWX
AZ
BDGJPRU
COQS
Each individual square and its letterform
is seen as an independent typographic
composition that investigates form and
counter-form, figure ground relationships,
asymmetry/symmetry, static and
dynamic placement. The totems
present sequential order and visual flow,
while emphasizing rhythmic pattern and
punctuation as a dynamic flow. They also
should be articulate aurally and visually
the typographic details within each
composition as well as the whole.
Anatomy of Type Typographic Kinetics
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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 the demonstrates
relationships to the chair.
Typographic Page with a Chair
Slant + Size
Case + Size
GS
gS
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Slant + Width
Weight + Size
SG
G S
Slant + Size
Face + Slant
gs
GS
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Weight + Case
Width + Slant
1935PLYW
OOD
GERALD
SUMMER
S
Weight + Face
Slant + Size
Gerald
35Compressed Plywood
Armchair
Summers
G
S
Armchair
erald
ummer
s
1935
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Size + Slant
Slant + Weight
Gerald SummersAR
MCH
AIR
35
Slant + Weight
Case + Size
gerald
summ
ers
1935
PLYW
OOD
GERALD SUMMERS
1935Arm
Cha
ir
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Type generally falls into two primary
categories; informational and 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.
Chair Hang Tag
This chairwas designed in
1933 and produced in 1935and this chairwas inspired
by AlvarAaltos bentplywood chairs which wasin the same decade. Since
there was no wastage, thischairwas made fromonesingle piece of plywood.
Its bent plywood that uses
molds to create curved sur-faces. The chairhas strength
that comes fromseventeenrectangularveneers thatare all stacked on top of
each other.
gerald
summ
ers
1935
PLYWO
OD
Gerald Summers owned a company named The Makers
of Simple Furniture in London that he started with his wife
in 1932. Over ten years Summers produced over a hundred
furniture designs.
Gerald Summers
Plywood
1935
Its bent plywood thatuses molds to createcurved surfaces. Techair has strength thatcomes from seventeenrectangular veneersthat are all stacked ontop of each other.
Gerald Summers owned a company named TeMakers of Simple Furniture in London that hestarted with his wife in 1932. Over ten years Sum-mers produced over a hundred furniture designs.
Tis chair wasdesigned in 1933 andproduced in 1935 andthis chair was inspiredby Alvar Aaltos bentplywood chairs whichwas in the same decade.Since there was no wast-age, this chair was madefrom one single piece of
plywood.
Ge
raldS
umme
rs
ARM
CHAIR
35
Front
Plyw
oodChair
GeraldSummers1935
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