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COVER
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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.
Unit 1.1 Anatomy of Type
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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?
Understanding Anatomy
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When one half of the word is covered the
top portion of the word is more legible
than the bottom por tion. When covering
portions of individual letters they become
more difficult to read. One could cover
half vertically or horizontally of almost any
letter of a serif font and be able to tell what
almost any letter is.
Anatomy of Type
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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.
Anatomy Cropping
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Typography is unique in that it is both
visual and verbal. Every letter has a
personality you can identify even while
part of a word. In these examples,
fragmentation is not the goal in and of
itself, but to demonstrate the role of
legibility as it pertains to reading, the role
of size and optical spacing and emphasize
rhythmic form /counterform pattern of
light and dark. Its a case-by case decision
of how far a designer can push formal
invention before readability is lost.
Typographic Kinetics
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While upper and lower case letters
are distinct in structure, they all are
built by combining 4 strokes; vertical,
horizontal, diagonal, 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.
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.
Couter Forms | Single Letter
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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.
Counterpart |Two Letters
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The counterform is not just whats left
over in the background. The counterform
is a new entity that emerges through
interaction with the form of letters .
Typically these counterforms are either
geometric or organic in quality depending
on the structure or style of the let ter. In
the counterforms of letters there exists
a fascinating world of form waiting to be
explored by the designer.
Counterforms |two letters
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Why Modern Chairs and Typography?
Like typography, chairs speak of the
age in which they are designed.
They represent the technologies,
materials and design attitudes of their
time. A chair, like typography, is a
solo design effort by one designer, as
type design has historically been.
A chairs function dictates its form
and space is divided by form to void
relationships much like a letterform.
A chair has personality so does a
letterform. It can be interpreted.
Like typography, chairs express
qualities of the organic or geometric,
natural or man-made. A chair is to the
torso like type is to the eye.
Typographic Page
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Phase One | Letterform interpretations
case + face
weight + slant (italic font)
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weight + face
weight + face
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Phase Two | Words
case + face
case + face
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weight + face + scale
weight + face + scale
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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.
Phase Three |Layouts
1933
summers
london
Modernistdesign
Manufacturer:Makers
ofSimpleFurniture,Ltd.
If we use a brace only to strengthentwo members the design is bad.
Gerald Summers re-mains a mystery to art his-torians to date. There is littledocumentation of his lifeand his work. However thischair is a crowning achieve-ment in modernist design.
Designed in 1933, this
chair represents unity in
design. The chair is madefrom a single sheet of bentplywood, unheard of forthe time period.
BENTPLYWOOD
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Summers and his wife,
Majorie Amy Butcher,founded The Makers ofSimple Furniture in 1932.Production for the chair
began in 1935 in London. Due to the attention todetail required to pro-
duce each chair only 120chairs were ever made.
This organic designhas inspired moderndesign to follow.
Gerald Summers
remains a mystery to arthistorians to date. Thereis little documentationof his life and his work.
However this chair is acrowning achievement inmodernist design.
Designed in 1933, thischair represents unity indesign. The chair is madefrom a single sheet ofbent plywood, unheard
of for the time period.
Sadly due to govern-
ment restrictions on theirmain source materials,Makers of Simple Furni-ture, Ltd, were forced to
close.All that remains of the
company are the few
amazing pieces theywere able to produce.
G E R A L D