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T y p e C om
p en d i um
2 0 1 3 F al l
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Anatomy of Type
Individual letter forms have unique
parts which have changed in visual form
over the centuries. A nomenclaturehelps 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.
Typography X-height Capline
Meanline
T a i l
S h o u
l d e r
H a i r l i n e
S e r i f
Baseline
L o o p
S t r o k e
D e s c e n d e r
E a r
B o w
l
F i l l e t
S t e m
A r m
A s c e n d e r
C o u n t e r
L i n k
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There is a large range that exists between
historic families of serif and san serif type
and the only two anatomical attributesthat they share is 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.
Understanding Anatomy
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Understanding Anatomy
With few exceptions, the upper half
of letters will be more legible than the
bottom half. Our eye follows the activeexception of the mean-line. In the hands
of a designer, the careful fragment that
considers the anatomy of the letter forms
can be more useful than a complete form
while working expressively with t ype.
Typography Typography
Typography
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Typographic Kinetics
The form you seek is one that to
be able to read the word. So this
determines the degree of fracture. Itsthepart(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.
Every letter has a personality you
can identify. Fragmentation is not
the goal in and of itself. Every thingis adjustable and its a case-by
case decision of how far to go.
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Counterpart Counterpoint
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. The counter
form is not just whats left over in the
background. The counter form shapes
the void and helps dene rhythmic
intervals to ease reading.
B C
K X
UN
O G
Qy SJ
XY
BO R3
Z6 YK
A9
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.
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Chair name: Plywood Armchair
Designed: 1933
Size: 30.75 x 24 x 34.25 inProvenance: English Private Collection
Manufacture: 1970
Chair information
Designer
name : Gerald Summers
Background :Dispipline/ Profession :
British Modernist Designer,
Furniture designer
Design Philosophy :
This was alien to Summers beliefs,
In pure design we expect each part and
member to pull its full weight in making the
design suitable for its purpose. That is to
say (Taking a hypothetical case) if we use a
brace only to strengthen two menbers the
design bed
Gerald Summers
G e r a ld
S u m m e r s
1935
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new combinationsSize+Weighr+Width+Slant+Value+case+color
G e r a l d S u m m e r s P L Y W O O D
AR M C H AI R
19 3 5
GERALD SUMMERSPLYWOOD ARMCHAI R
1935
Structuring a Typographic Page 2
Using the designers name, the name of
the chair, and the date of its manufacture,
impose the words in a typographic studythat demonstrates relationships to the chair.
You can crop and place the chair or the type
in any position within the rectangle as long
as it never occupies more that 50% of the
overall space.
P l y w
o o d A r m c h a i
r
G e r a l d S u m m e r s 1 9
3 5
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Create a hand lettered composition to
go on a postcard. Good typography is
always meant to be legible and clear.Hand lettering offers possibilities
for some personal expression.
Combining words into abstract and
improvised illustrations forces you to
work letters into strange spaces and
enclosures. Experimentation is the
key to developing our own style The
more you draw the more ways you
discover how to render words and
letterforms.
Hand Letter Workshop
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Hand Letter Workshop Process
1) Select a quote. Overlay tracing paper
on font specimen pages to practice
tracing the words with various typefaces.Practice writing the words in different
lettering styles: serif, san serif, slab,
decorative. Get used to the proper stroke
widths, thicks and thins this will help
you for when you make the letters more
expressive.
2) Create a framework for the quote that
ts the 4 x 6 proportions. Map out the
words into a composition to use as aloose guideline for your illu stration. Its
difcult to judge how much room you
have to t a word or phrase, and this
process will help take out the guesswork.
Theres nothing worse than running out
of space after drawing your perfectly
imperfect letterforms. This process is also
helpful when working on a lettering proj-
ect that needs to t comfortably within a
dened space.
3) trace your best composition onto trac-
ing paper with a black marker and scan
it into the computer. In illustrator, usethe live trace option to create a vector
drawing of your image from there you
can scale, adjust and add color.
4) print the postcard on coverstock : 4
x 6 . print enough that everyone in the
class can share.
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Designed by: Sunyoung Park
Course Title: Typography and Design
Date: November 12 2013Fonts: Univers 55Roman
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