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Cover Sheet

Anatomy of Type

Understanding Anatomy

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.

When mixing families of type, you can and cant do certain things based on your experience with typography. Generally serif and sans serif should be separate. Serifs read better in large amounts of text and sans serifs work better for titles.

Ringtailed
Tail Ascender Counter Descender Loop

Capline Meanline x-height Baseline

Ringtailed Ringtailed Ringtailed RingWith Fill Without Fill Garamond Baskerville Univers Helvetica Neue

Shoulder

Stroke

Shoulder

Bowl

Link

Eye

Ear

Understanding Anatomy

Anatomy of Type | Single Letter

When mixing families of type, you can and cant do certain things based on your experience with typography. Generally serif and sans serif should be separate. Serifs read better in large amounts of text and sans serifs work better for titles.

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.

Ringtailed Ringtailed Ringtailed

Anatomy of Type | Cropping Studies

Anatomy of Type | counterpoint and counterpart

Anatomy of Type | Counterpart and Counterpoint

denotes counterpart relationships denotes counterpoint relationships

Anatomy of Type | Counterpart and Counterpoint 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. 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 | Typographic Kinetics

Every letter has a personality you can identify. Fragmentation is not the goal in and of itself. Everything is adjustable and its a case-by case decision of how far to go. The form you seek is one that to be able to read the word. So this determines the degree of fracture. Its the part(letterform) towhole (word). Both must be juggled to value. You cant use the same element over and over just because it worked in one place. Every example should change somewhat. Because range is a persistent goal of design, you want to invent in each example. Expect some noble necessary part of any assignment.

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Anatomy of Type | The Structure of Letters

The Structure of Letters

C
EFHILT KMNY XWV AZ

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.

T BB
Since the time of the Greeks, capital letterforms have consisted of simple geometric forms based on the square, circle, and triangle. The basic shape of each capital letterforms can be extracted from this Roman letterform template found on the Trojan Columns which is composed of a bisected square, a circle, a triangle, an inverted triangle, and two smaller circles.

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C C

BDGJLOPRU COQS

Anatomy of Type | Typographic Page with a Chair

Anatomy of Type | Typographhic Page with a Chair

Using the initials of your designer, impose the letterforms in a typgraphic study that interprets a relationship to the form of the chair they designed. The goal is to discover relationships in form and division of space. Then, using the designers name, the name of the chair, and the date of its manufature, imposbe the words in a typographic study that demonstrates relationships to the chair.

Weight and face

Size and weight

Anatomy of Type | Typographic Page with a Chair

Anatomy of Type | Typographic Page with a Chair

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Weight and face Size, weight and face

Size and case

Size and weight

Anatomy of Type | Typographic Page with a Chair

Anatomy of Type | Typographic Page with a Chair

Size and width

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Case and size

Weight and size

Size and color

Anatomy of Type | Typographic Page with a Chair

Anatomy of Type | Typographic Page with a Chair

Color, Weight and Slant

Size, Tone, and Case

Case, Color and Weight

Weight, Color and Size

Anatomy of Type | Chair Hang Tag

Anatomy of Type | Chair Hang Tag

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.
Alvar Aalto

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Alvar Aalto

Hugo Alvar Henrik Aalto (3 February 1898 11 May 1976) was a Finnish architect and designer. His work includes architecture, furniture, textiles and glassware.

The Alvar Aalto Museum, designed by Aalto himself, is located in what is regarded as his home city Jyvskyl.

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