Compendium FINAL2

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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

    this page. Brief description of the project

    presented on this page. Brief description o

    the project presented on this page.

    Title of the Project Title of the Project

    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.

    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

    this page. Brief description of the project

    presented on this page. Brief description o

    the project presented on this page.

    Title of the Project Title of the Project

    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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    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

    this page. Brief description of the project

    presented on this page. Brief description o

    the project presented on this page.

    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

    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

    this page. Brief description of the project

    presented on this page. Brief description o

    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 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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    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