Daisy Lora Typography

8/10/2019 Daisy Lora Typography

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COVER


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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.

Unit 1.1 Anatomy of Type


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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?

Understanding Anatomy


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When one half of the word is covered the

top portion of the word is more legible

than the bottom por tion. When covering

portions of individual letters they become

more difficult to read. One could cover

half vertically or horizontally of almost any

letter of a serif font and be able to tell what

almost any letter is.

Anatomy of Type


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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.

Anatomy Cropping


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Typography is unique in that it is both

visual and verbal. Every letter has a

personality you can identify even while

part of a word. In these examples,

fragmentation is not the goal in and of

itself, but to demonstrate the role of

legibility as it pertains to reading, the role

of size and optical spacing and emphasize

rhythmic form /counterform pattern of

light and dark. Its a case-by case decision

of how far a designer can push formal

invention before readability is lost.

Typographic Kinetics


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While upper and lower case letters

are distinct in structure, they all are

built by combining 4 strokes; vertical,

horizontal, diagonal, 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


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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.

Couter Forms | Single Letter


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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 denes a particular

counterform. Form and counterform

are reciprocal values and completely

interdependent and integral to a letters

completeness as a design.

Counterpart |Two Letters


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The counterform is not just whats left

over in the background. The counterform

is a new entity that emerges through

interaction with the form of letters .

Typically these counterforms are either

geometric or organic in quality depending

on the structure or style of the let ter. In

the counterforms of letters there exists

a fascinating world of form waiting to be

explored by the designer.

Counterforms |two letters


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Why Modern Chairs and Typography?

Like typography, chairs speak of the

age in which they are designed.

They represent the technologies,

materials and design attitudes of their

time. A chair, like typography, is a

solo design effort by one designer, as

type design has historically been.

A chairs function dictates its form

and space is divided by form to void

relationships much like a letterform.

A chair has personality so does a

letterform. It can be interpreted.

Like typography, chairs express

qualities of the organic or geometric,

natural or man-made. A chair is to the

torso like type is to the eye.

Typographic Page


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Phase One | Letterform interpretations

case + face

weight + slant (italic font)


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weight + face

weight + face


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Phase Two | Words

case + face

case + face


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weight + face + scale

weight + face + scale


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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.

Phase Three |Layouts

1933

summers

london

Modernistdesign

Manufacturer:Makers

ofSimpleFurniture,Ltd.

If we use a brace only to strengthentwo members the design is bad.

Gerald Summers re-mains a mystery to art his-torians to date. There is littledocumentation of his lifeand his work. However thischair is a crowning achieve-ment in modernist design.

Designed in 1933, this

chair represents unity in

design. The chair is madefrom a single sheet of bentplywood, unheard of forthe time period.

BENTPLYWOOD


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Summers and his wife,

Majorie Amy Butcher,founded The Makers ofSimple Furniture in 1932.Production for the chair

began in 1935 in London. Due to the attention todetail required to pro-

duce each chair only 120chairs were ever made.

This organic designhas inspired moderndesign to follow.

Gerald Summers

remains a mystery to arthistorians to date. Thereis little documentationof his life and his work.

However this chair is acrowning achievement inmodernist design.

Designed in 1933, thischair represents unity indesign. The chair is madefrom a single sheet ofbent plywood, unheard

of for the time period.

Sadly due to govern-

ment restrictions on theirmain source materials,Makers of Simple Furni-ture, Ltd, were forced to

close.All that remains of the

company are the few

amazing pieces theywere able to produce.

G E R A L D

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Daisy Lora Typography