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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 uiT
PGRA EF rU i t
GRApe fr U I t
G 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 letter’s
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 what’s 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 group’s 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 group’s 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 group’s very first exhibition
unleashed a frenzy of enthusiasm.”
inside outside
1983“The prevalent criterion for design was no longer the ability to solve
technical problems, but rather the object’s 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.”
1983“The prevalent criterion for design was no longer the ability to solve
technical problems, but rather the object’s 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 group’s 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 group’s 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 is
welded to the front legs
of the simple stool, which
forms the seat frame, almost
sitter. Although the construc
tion is extremely stable, the
reduced elements radiate
a strong impression
The restrained use of decorative
elements gives “First” an almost classic
air among the Memphis objects,
making it suitable for fu
rnishing
conventional interiors. MK
The tube is
welded to the front legs
of the simple stool, which
forms the seat frame, almost
sitter. Although the construc
tion is extremely stable, the
reduced elements radiate
a strong impression
The restrained use of decorative
elements gives “First” an almost classic
air among the Memphis objects,
making it suitable for furnishing
conventional interiors. MK
1983Michele de Lucchi
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
GT
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