A

A
A
A
A
Alto t
Mountain Mountain Mountain Mountain
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.
Anatomy of Type
Although these type faces have similarities
and were most likely all based on a certain
font, they have differences in size, weight
and the kerning between the letters.
Anatomy of Type | Overlap
T
i
t
t
l
e
C
o
u
n
t
e
r
H
e
a
d

S
e
r
r
i
f
T
e
r
m
i
n
a
l
C
r
o
s
s
b
a
r
B
o
w
l
S
p
u
r
S
t
e
m
S
h
o
u
l
d
e
r
S
e
r
r
i
f
S
e
r
r
i
f
A
x
i
s
C
r
o
t
c
h
A
p
a
t
u
r
e
S
t
r
o
k
e
Mountain Mountain Mountain Mountain
Century Schoolbook
Garamond
Bembo
Baskerville
With Fill
Without Fill
Capline
Meanline
Baseline
Fundamental to all typographic design
is the interplay between letterform and
background. Every letterform denes
a particular counter form. Form and
counterform are reciprocal values and
completely interdependent and integral to
a letters completeness as a design. The
counterform 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
typographic design.
Anatomy of Type | Anatomy Cropping
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.
I believe the covering the bottom half is
more legible than covering the top half.
When the top is visible you can clearly
read the word, where if all you see is the
bottom half it takes a minute to understand
the word.
How much of the letterform can you
remove and still read the word? What do
you become aware of?
If you cover the most recognizable parts of
certain letters such as a lower case t, or the
bottom of u, then it is hard to determine
what exactly the letter is.
Anatomy of Type | Legibility Word Legibility letter
Mountain
Mountain
Mountain
M
Anatomy of Type | Counterpart and Counterpoint Anatomy of Type | Anatomy Cropping
t
M
A
M
g
8
ET
D
R
X
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
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.
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.
e
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 Counterpoint
d
Anatomy of Type | The Structure of Letter
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 Letter
A
E
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.
EFHILT
KMNY
VXW
AZ
BDPRJU
CGOQS
it
k
vwxy
z
abdghmnpqru
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
Structuring a Typographic Page
Case + Weight
Size + Weight
Structuring a Typographic Page Structuring a Typographic Page
A
a
weight + slant
Size + Case Size+ Width
Size + Weight
Structuring a Typographic Page Structuring a Typographic Page
A
lvo

A
l
t
o
No.41
P
a
i
m
i
o
1930
Alvo Alto v t
Paimio
N
O
.
1
9
3
0
Face + Weight + Case
Size + Weight
Weight + Case + Color
Size + Tonality
Title of the Project
The Paimio chair quickly
became popular and was pro-
duced in large quantities. It is
made of bent laminated veneer
and is the result of numerous
bending trials using birch wood
that is in part naturally damp.
As birch wood is plentiful
throughout Finland and the
production method required
no expensive technology, it
was possible to manufacture
the chair at relatively low cost.
Despite its lack of upholstery,
the springy seat afforded com-
fortable sitting, and was suited
for modern interiors with its
contemporary, natural, and
unobtrusive form. It paved the
way for the Scandinavian-in-
fuence furniture design which
lasted until the sixties.
Paimio No.41
The very essence of architecture consists of a
variety and development reminiscent of natural
organic life. This is the only true style in archi-
tecture.
Alvar Aalto
Paimio
N
O
.
1
9
3
0
Alvo Aalto Alvo Aalto
Paimio No.41
fold
The Paimio chair quickly
became popular and was
produced in large quan-
tities. It is made of bent
laminated veneer and is
the result of numerous
bending trials using birch
wood that is in part natu-
rally damp. As birch wood
The Paimio chair quickly
became popular and was
produced in large quan-
tities. It is made of bent
laminated veneer and is
the result of numerous
bending trials using birch
wood that is in part natu-
rally damp. As birch wood
is plentiful throughout
Finland and the produc-
tion method required no
expensive technology, it
was possible to manufac-
ture the chair at relatively
low cost. Despite its lack
of upholstery, the springy
seat afforded comfortable
sitting, and was suited for
modern interiors with its
contemporary, natural,
and unobtrusive form.
It paved the way for the
Scandinavian-infuence
furniture design which
lasted until the sixties.
is plentiful throughout
Finland and the produc-
tion method required no
expensive technology, it
was possible to manufac-
ture the chair at relatively
low cost. Despite its lack
of upholstery, the springy
seat afforded comfortable
sitting, and was suited for
modern interiors with its
contemporary, natural,
and unobtrusive form.
It paved the way for the
Scandinavian-infuence
furniture design which
lasted until the sixties.
Just as it takes tim
e for
a speck of fsh spaw
n to
develop into a fully
grow
n fsh, so, too, w
e
need tim
e for everything
that develops and
crystallizes in the w
orld
of ideas. Architecture
dem
ands m
ore of this
tim
e than other creative
w
ork.
Alvar Aalto
Paim
io No.41
Paim
io No.41
Alvo Aalto
A
l
v
o

A
l
t
o
No.41
P
a
i
m
i
o
1930
Aa
Aa
Aa
Aa
Aa
Aa
A
A