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8/13/2019 Gwhitman Type Compendium
1/20
WG
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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 type
Alligatorcapline
meanline
baseline
beardline
Hairline
bowl
swash
terminal
serif
Fillet
crossbar
Apex
stem
jot
loop
Decender
bowl
x-height
ear
link
crossbar
spur
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Overlap to discover the remarkable range
that exists between historic families of
type even though they have the same point
size. What does this mean for the designer?
When it comes to mixing families of type
what can be done and what cannot be
done? What are the only 2 anatomical
attributes that all families share?
Overlap
AlligatorAlligatorAlligator
Alligator
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Which is more legible when covered, the
bottom half of the word or the top half of
the word? When the bottom half of the
word is covered it is more legible.
Legibility word
How much of the letterform can you
remove and still read the word? What do
you become aware of?
Legibility letter
Alligator
Alligator
Alligator
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Anatomy Cropping
In this project i learned more about cropping
letters, and creating legibility with positive
and negative values. The project helped
determine how far you can push a letter
before it becomes unlegable/ legible.
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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.
Typographic kinetics
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Fundamental to all typographic design is the
interplay between letterform and background.
An awareness of this inter-relationship
of form and counterform is essential in
typographic design. Every letterform
defines a particular counterform. Formand counterform are reciprocal values and
completely interdependent and integral to a
letters completeness as a design.
The counterform is not just whats left over
in the background. The counter form 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. In the counterforms of letters there
exists a fascinating world of form waiting to
be explored by the designer.
Form/ Counterform
Single letter_form and counterform Two letters_form and counterform
B S3
P4 R R
0Y Z6C EA FA
P
D
4
Y8
M
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Wordplay
Wordplay refers to creating typographic
equivalents for words.
In this exercise, we used contrasting
words and one typeface. Using simple
changes in spacing, sizing and placement
of letters on a page, the work not
only conveys the words meaning but
expresses it as well.
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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.
The Structure of Letters
stroke categories UC LC
E F H L T I r t i
K N Y k
V W X v w x y
A Z z
B D J P R U a b d g h j
m n p q u
C G O Q S c e f o s u
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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 via form anddivision of space. Then using the designers
name, the name of the chair and the date
of its manufacture or materials used to
create the chair, impose the words in a
typographic study that demonstrates
relationships to the chair.
Typographic Page
size+width
case+ size
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weight + face
M
M
weight + width
M M
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size + weight
MM
Case+width+facev Mm
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case+slant+weight+value
size+case+weight
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size+weight
size+width
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size + weight + case+ width
size + slant + case
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size+width
size+tonality(value)
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weight+case+color
vslant+size
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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.
Muti-pageTypographic Layout and the Grid
In 2004 Minale created the chair to replicate Ger-rit T. Rietvelds Red and Blue Chair (1918). The
intention was to use simple objects to recreate thechair, to not show how simple Rietvelds chairs de-signs were, but to show the beauty of the structureand to how devleop with a modern medium.
the chair now goes for$33,000 and is handmade by minale himself.
Alongside the chair,Minale also creates otherfurniture and piees ofart using simply legos,such as tables, and smallcounters.
Minale graduated from theDesign Academy in Eindhoven,Noord Brabantin, 2004 withhis masters and has worked
with renowned companies suchas Droog and Skitsch. He now
works along side Kuniko Maedadesigning unique pices and pre-senting them in galleries aroundthe world.
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 traditionsand 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
In 2004 Minale created the chair to replicate Gerrit T. Rietvelds Red and Blue Chair(1918). The intention was to use simple objects to recreate the chair, to not show howsimple Rietvelds chairs designs were, but to show the beauty of the structure and to howdevleop with a modern medium.
the chair now goes for $33,000 and is hand made by minalehimself. Alongside the chair, Minale also creates other furnitureand piees of art using simply legos, such as tables, and smallcounters.
2004
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In 2004 Minale created the chair to replicateGerrit T. Rietvelds Red and Blue Chair (1918). Theintention was to use simple objects to recreate the chair,to not show how simple Rietvelds chairs designs were,but to show the beauty of the structure and to howdevleop with a modern medium.
the chairnow goes for$33,000 and is
hand made byminale himself.Alongside thechair, Minalealso createsother furnitureand piees ofart using simplylegos, such astables, and smallcounters.
MinalegraduatedfromtheDesignAcademyinEind-hoven,NoordBrabantin,2004withhismastersandhasworkedwithrenownedcompaniessuchasDroogandSkitsch.HenowworksalongsideKunikoMaedadesigninguniquepicesandpresentingthemingalleriesaroundtheworld.
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!End
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