Dania Compendium

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Transcript of Dania Compendium

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  • Dania HammadDesign With TypeCompendiumFall 2014

    Table of Contents

    Unit 1: Anatomy of Type

    Finding a Visual Answer

    Counterform Single Letter

    Counterform Between Two Letters

    Counterpart and Counterpoint

    The Structure of Letters

    Typographic Kinetics

    Typographic Symbol

    Typographic Symbol - The Design Process

    Typographic Symbol- The Typographic Contrast

    Typographic Symbol- Added Elements

    Typographic Grid

    Hang Tags

    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.

    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 TypeAnatomy of Type

    arm

    desc

    ende

    r

    serif

    coun

    ter

    stem

    shou

    lder

    term

    inal

    capline

    meanline

    baseline

    x-height

    cros

    sbar

    spur

    serif

    eye

    bowl

    coun

    ter

    uppe

    rcas

    e ch

    arac

    ter

    term

    inal

  • Overlapping classical type families of the

    same point size, displays the great range in

    character width, x-height and capline. The

    only anatomical attributes shared across

    all type families are the baseline and the

    strokes used to create the characters.

    Mixing families of type on a single line or

    in a paragraph will create visual discord

    due to the many characteristic differences

    between the two families.

    Anatomy of Type

    Covering the top and bottom halves of

    letter forms demonstrates that, in general,

    the upper half of a letter is more legible

    than the bottom half. Exceptions to this

    tendency are letters that extend below the

    baseline. Nearly half of any word can be

    removed before it is no longer legible, but

    some letters are more easily identifiable

    depending on which half of the letterform

    remains.

    Anatomy of Type | Legibility

    GrapefruitGrapefruitGrapefruitGrapefruit

    GrapefruitGrapefruitGrapefruit

    GrapefruitGrapefruitGrapefruitGrapefruit

    GrapefruitGrapefruitGrapefruit

  • Each individual square and its letter form

    is seen as an independent typographic

    composition that investigates form and

    counterform, figure ground relationships,

    asymmerty / symmetry, static and dynamic

    placement.

    Anatomy of Type | Cropping

    A G rEP

    t

    iu

    F aTAeu Ff

    Typographic Kinetics

    Sequential compositions emphasizing

    rhythmic pattern and punctuation as

    dynamic flow while pushing the readability

    to the extreme. Each example articulates

    aurally and visually the typographic

    details within each composition as well as

    the whole.

    G epaR fr u iT

    PGRA EF rU i

    t

    GRAp

    e fr U I tG a R IR F U tPe

  • Form and Counter Form | Single Letter

    Fundamental to all typographic design

    is the interplay between letter form and

    counter form. Form and counter form

    are reciprocal values and completely

    interdependent and integral to a letters

    completeness as a design.

    A

    P

    8

    9c D

    0 9

    S 8

    A 3

    Form and Counter Form | Between Letters

    The counter form is not just whats left

    over in the background. The counter

    form shapes the void and helps define

    rhythmic intervals to ease reading.

    Typically these counter forms are either

    geometric or organic in quality depending

    on the structure or style of the letter.

    An awareness of this interrelationship

    of form and counter form is essential in

    typographic design.

    5352

  • Counterpart / Counterpoint

    Form relationships of counterparts

    and counterpoints are established by

    frequency of appearance. Counterparts,

    through repeted use, establish the rule.

    Counterpoint, by its appearance only once,

    functions as the exception to the rule.

    Counterpart

    Counterpoint

    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

    LHFETI tlijf

    NMYK k

    VXW vxwy

    AZ z

    DPBUJRG bdpqghrmnua

    regardless of style. Letter forms derive

    their visual character from combinations

    of these basic strokes. An entire alphabet

    can be categorized using only six basic

    underlying visual combinations of strokes

    as the example illustrates.

    Letterforms Analyzed: Type is important because over centuries, a nomenclature has evolved that identifies the various components of individual letter forms

  • Michele De Lucchi

    size / weight etc.

    size / weight etc.

    Typographic Page

    M

    DLM

  • size / weight etc.

    size / weight etc.

    Typographic Page

    dLM

    L

    size / weight etc.

    size / weight etc.

    Typographic Page

    MICHELLE /de Lucchi

    1983

  • size / weight etc.

    size / weight etc.

    Typographic Page

    Md L

    MichelledeLucchi1

    9 8

    3

    Typographic Page

    FIRST CHAIR Michele de Lucchi

    First Chair

    1 9 8 3varnished tubular steel, varnished

    wood, rubber

    The ornamental style belongs to the world of electronics, just as functionalism is part of the

    world of machines and machine

    aesthetics.

    G. S. Sowden

    The groups very first exhibition unleashed a frenzy of enthusiasm.

    First Chair

    1 9 8 3varnished tubular steel, varnished

    wood, rubber

    The ornamental style belongs to the world of electronics, just as functionalism is part of the

    world of machines and machine

    aesthetics.

    G. S. Sowden

    The groups very first exhibition unleashed a frenzy of enthusiasm.

    First Chair

    1 9 8 3varnished tubular steel, varnished

    wood, rubber

    The ornamental style belongs to the world of electronics, just as functionalism is part of the

    world of machines and machine

    aesthetics.

    G. S. Sowden

    The groups very first exhibition unleashed a frenzy of enthusiasm.

  • inside outside

    1983The prevalent criterion for design was no longer the ability to solve

    technical problems, but rather the objects capacity for communication. It was necessary to confront the multiplicity of Postmodern styles in order to capture the Zeitgeist in a fast-paced, experimental design

    idiom.

    The back and armrest construction is a true eye-catcher. It consists of a steel tube, bent to form a circle, which supports a flexible backrest comprising a round wooden disk on rubber bearings and two wooden spheres as arm-rests. The tube is welded to the front legs of the simple stool, which forms the seat frame, almost completely engulf-ing the sitter.

    1983The prevalent criterion for design was no longer the ability to solve

    technical problems, but rather the objects capacity for communication. It was necessary to confront the multiplicity of Postmodern styles in order to capture the Zeitgeist in a fast-paced, experimental design

    idiom.

    The back and armrest construction is a true eye-catcher. It consists of a steel tube, bent to form a circle, which supports a flexible backrest comprising a round wooden disk on rubber bearings and two wooden spheres as arm-rests. The tube is welded to the front legs of the simple stool, which forms the seat frame, almost completely engulf-ing the sitter.

    Michele De Lucchi was one of the cofounders of the Milan designer group Memphis, which emerged at the end of 1980 around the central figure of Ettore Sottsass. The groups very first exhibition unleashed a frenzy of enthusiasm. Since then, the shrill, sensual, and playful designs produced by Memphis have explod-ed all academic conven-tion and substantially influenced the world of design. G. S. Sowden,

    Michele De Lucchi was one of the cofounders of the Milan designer group Memphis, which emerged at the end of 1980 around the central figure of Ettore Sottsass. The groups very first exhibition unleashed a frenzy of enthusiasm. Since then, the shrill, sensual, and playful designs produced by Memphis have explod-ed all academic conven-tion and substantially influenced the world of design. G. S. Sowden,

    The ornamental style belongs to the world of electronics, just as functionalism is part of the world of machines and machine aesthetics.1

    1983Michele de Lucchi

    The tube i

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    legs

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