G

Anatomy of type

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.

crossbar

Hairline

bowl

link

Alligator
crossbar Decender loop bowl stem serif terminal Fillet ear

swash

Apex

spur

jot

capline meanline x-height baseline beardline

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 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?

Alligator Alligator Alligator

Legibility word

Legibility 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.

How much of the letterform can you remove and still read the word? What do you become aware of?

Alligator Alligator Alligator

Anatomy Cropping

In this project i learned more about cropping letters, and creating legibility with positive and negative values. The project helped determine how far you can push a letter before it becomes unlegable/ legible.

Typographic kinetics

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 to read the word. So this determines the degree 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 example. Expect some noble necessary part of any assignment.

AL I A R
L
G

TT TT O

A G GG i iI l ll l l

l A A A

OO

Form/ Counterform

Fundamental to all typographic design is the interplay between letterform and background. An awareness of this inter-relationship of form and counterform is essential in typographic design. Every letterform denes a particular counterform. Form and counterform are reciprocal values and completely interdependent and integral to a letters completeness as a design. The counterform is not just whats left over in the background. The counter form 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. In the counterforms of letters there exists a fascinating world of form waiting to be explored by the designer.
Single letter_form and counterform Two letters _form and counterform

8Y 4 A
P

4 RR P 0 Z 6 Y CE AF

MB S3

Wordplay

Wordplay refers to creating typographic equivalents for words. In this exercise, we used contrasting words and one typeface. Using simple changes in spacing, sizing and placement of letters on a page, the work not only conveys the words meaning but expresses it as well.

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.

stroke categories

UC

LC

E F H L T I K N Y V W X A Z

rti k vwxy z

B D J P R U CGOQS

abdghj mnpqu cefosu

Typographic Page

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 via form and division of space. Then using the designers name, the name of the chair and the date of its manufacture or materials used to create the chair, impose the words in a typographic study that demonstrates relationships to the chair.

size+width

case+ size

weight + face

M
weight + width

size + weight

Case+width+facev

M
m

size+case+weight

case+slant+weight+value

size+weight

size+width

size + weight + case+ width

size + slant + case

size+width

size+tonality(value)

weight+case+color

vslant+size

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 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
Minale the project presented on this graduated page. from the Design Academy in Eindhoven, Noord Brabantin, 2004 with his masters and has worked with renowned companies such as Droog and Skitsch. He now works along side Kuniko Maeda designing unique pices and presenting them in galleries around the world.

In 2004 Minale created the chair to replicate Gerrit T. Rietvelds Red and Blue Chair (1918). The intention was to use simple objects to recreate the chair, to not show how simple Rietvelds chairs designs were, but to show the beauty of the structure and to how devleop with a modern medium.

the chair now goes for $33,000 and is hand made by minale himself. Alongside the chair, Minale also creates other furniture and piees of art using simply legos, such as tables, and small counters.

2004

In 2004 Minale created the chair to replicate Gerrit T. Rietvelds Red and Blue Chair (1918). The intention was to use simple objects to recreate the chair, to not show how simple Rietvelds chairs designs were, but to show the beauty of the structure and to how devleop with a modern medium. the chair now goes for $33,000 and is hand made by minale himself. Alongside the chair, Minale also creates other furniture and piees of art using simply legos, such as tables, and small counters.

 In 2004 Minale created the chair to replicate Gerrit T. Rietvelds Red and Blue Chair (1918). The intention was to use simple objects to recreate the chair, to not show how simple Rietvelds chairs designs were, but to show the beauty of the structure and to how devleop with a modern medium.

the chair now goes for $33,000 and is hand made by minale himself. Alongside the chair, Minale also creates other furniture and piees of art using simply legos, such as tables, and small counters.

Minale graduated from the Design Academy in Eindhoven, Noord Brabantin, 2004 with his masters and has worked with renowned companies such as Droog and Skitsch. He now works along side Kuniko Maeda designing unique pices and presenting them in galleries around the world.

End !