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Individual letter forms have unique
parts which have changed in visual form
over the centuries. A nomenclature.
helps indetify major elements of their
construction. The evolution of lettering
styles over time is a result of optical
adjustments to these basic components by
type designers over the ages.
Anatomy of Type
Overlap to discover the remarkable range
that exists between historic families of
type even though they have the same point
size.
Text for Book
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Dactylogram
Dactylogram
Dactylogram
Dactylogram
Capline
Meanline
Baseline
Fundamental to all typographic design
is the interplay between letterform and
background. Every letterform denes
a particular counter form. Form and
counterform are reciprocal values and
completely interdependent and integral to
a letters completeness as a design. The
counterform is not just what is left over in
the background. The counterform is a new
entity that emerges through interaction
with the form.
Typically, these counterforms 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 counterform is essential in
typographic design.
Anatomy Cropping
Use white ll rectangles, cover the bottom
half of the word. Then cover the top half of
the word. Determine which letters are an
exception to norm of upper half legibility
or right side legibility and cover with small
white ll rectangles.
Anatomy Cropping
Dactylogram
Dactylogram
Dactylogram
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Single letter form and counterform Counterpart and Counterpoint
Two letters form and counterform
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.
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the project presented on this page.
Counterpart and Counterpoint
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. Brief
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presented on this page.
Typographic Kinetics
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The most elementary forms of letters are
a visual code of simple strokes that is
recognizable through our experience
with handwriting.
Each of the upper and lower case letters
is distinct in structure. All are built by
combining vertical, horizontal, slanted,
and curvilinear strokes. Letter forms derive
their 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.
Anatomy of Type | The Structure of Letters
EFHILT
KMNY
VWX
AZ
COQS
BDGJPRU
ifjlt
k
vwxy
z
ceos
abdghmnpqru
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.
Using the initials of your designer, impose
the letterforms in a typographic 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 manufacture, impose the words in
a typographic study that demonstrates
relationships to the chair.
Typographic Page: Chair
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Nelson
1955
Coconut
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1955
COCONUT
George
NELSON
eorge
elson
Nelson
1955
COCONUT
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.
Chair Hang Tag
George
NELSON
In 1945, the Herman Miller furniture
company was producing mostly
conventional, wood-based designs.
After reading Tomorrows House D.J.
Depree, the Chairman of Herman
Miller, selected Nelson to be the
companys next Director of Design,
despite Nelson having no experience
designing furniture. Depree was more
interested in Nelsons insight into the
best way to make furniture innova-
tive and useful. Nelson was ofered
a contract that allowed him the
freedom to work outside of Herman
Miller, and to use designs from other
architects that Nelson had worked
with. He became the Director of Design for
Herman Miller in 1947, and held the
position until 1972. The frst Herman
Miller catalog produced by Nelson
was released in 1945. Over the follow-
ing years it would include some of the
most iconic home furnishings of the
20th century. Ray and Charles Eames,
Harry Bertoia, Richard Schultz, Donald
Knorr, and Isamu Noguchi all worked
for Herman Miller, under Nelsons
supervision. Although both Bertoia
and Noguchi later expressed regrets
about their involvement, it became
a successful period for the company,
and for George Nelson.
The single common element in all man-made
things is that they are designed.
1955
COCONUT
c o c o n u t Geor ge Nel s on
In 1945, the Herman Miller
furniture company was pro-
ducing mostly conventional,
wood-based designs. After
reading Tomorrows House
D.J. Depree, the Chairman of
Herman Miller, selected Nelson
to be the companys next
Director of Design, despite
Nelson having no experience
designing furniture. Depree
was more interested in Nel-
sons insight into the best way
to make furniture innovative
and useful. Nelson was offered
a contract that allowed him
the freedom to work outside
of Herman Miller, and to use
designs from other architects
that Nelson had worked with.
He became the Director of
Design for Herman Miller in
1947, and held the position
until 1972. The frst Herman
Miller catalog produced by
Nelson was released in 1945.
Over the following years it
would include some of the
most iconic home furnishings
of the 20th century. Ray and
Charles Eames, Harry Bertoia,
Richard Schultz, Donald Knorr,
and Isamu Noguchi all worked
for Herman Miller, under
Nelsons supervision. Although
both Bertoia and Noguchi later
expressed regrets about their
involvement, it became a suc-
cessful period for the company,
and for George Nelson.
The single common element in all man-made
things is that they are designed.
Nelson
1955
COCONUT
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1955
COCONUT
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Dactylogram