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heading: baseline from top 5 picas Anatomy of Type Title of the Project

top margin 4 picas

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Title of the Project

body text: baseline from top 10 picas

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.

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.

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. outside and inside margin 16 picas

column width 14 picas column interval 1 pica

fold area six picas on each side of center

outside and inside margin 16 picas

bottom margin 6 picas

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Title of the Project Title of the Project

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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.

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.

Table of Contents

01 anatomy of type 02 understanding anatomy 03 cropping 04 kinetics 06 counterpoint 07 the structure of letters 08 typographic pages 09 part one 11 part two 13 handlettering 14 colophon

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Anatomy of Type Understanding Anatomy

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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.

There is a large range that exists between historic families of serif and san serif type and the only two anatomical attributes that 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.

Assemblage
Crossbar Counter Spine Loop Link

Capline Meanline x-height Baseline

Assemblage Assemblage Assemblage

Garamond Baskerville Serifa Helvetica

Ascender

Shoulder

Hairline

Stroke

Apex

Bowl

Serif

Filet

Eye

Ear

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Understanding Anatomy Anatomy and Cropping

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With few exceptions, the upper half of letters will be more legible than the bottom half. Our eye follows the active exception of the mean-line. In the hands of a designer, the careful fragment that considers the anatomy of the letterforms can be more useful than a complete form while working expressively with type.

Each individual square and its letter form should be seen as an independent typographic composition that investigates form and counterform, gure ground relationships, asymmerty / symmetry, static and dynamic placement.

Assemblage Assemblage Assemblage

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Anatomy and Cropping Typographic Kinetics

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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 keeps the letter identiable enough to be able to read the word. So this determines the degree of fracture. Its the part(letterform) to the whole (word).

Both must be juggled to nalize the solution structured with value. You cant use the same element over and over again 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 failures at rst. Revisions are necessary part of any assignment.

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Counterpoint and Counterpart The Structure of Letters

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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.

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 following The basic structure for letterforms.

G9

Q7

example illustrates.

EFHILT
K Z F3 RX

lt k vwxy z bdghjmnpqru aceos

KMNY VWX

P5

Tf

AZ BDGJPRU COQS

yg

KS

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Typographic Pages - part one Typographic Pages - part one

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Putting together all the previous practices, students are to design page spreads using type and image together. To do this, students choose a chair to explore. After research is done on the chair design and its designer, the page layouts are designed with the chair designers initials as well as an image of the aforementioned chair. Students also explore different type components such as size, weight, case, slant etc. weight + slant

A
A

weight + case weight + width

a
weight + size

size + width

size + case

size + slant

A
a

J
a j

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Typographic Pages - part two Typographic Pages - part two

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For the second part of the typographic pages, students expand on the previous assignment. In this second installation, the designers full name is used as well as the date the chair was produced and the chairs name.

Artist Name: Arne Jacobsen Chair Name: Ant Chair Date Manufactured: 1952

ARNE JACOBSEN

1952

ant chair

slant + size + case

bse

ANT C
n arne jaco

HAIR
weight + case + color

ant
arne jacobsen

1952

color + size + width

Arne Jacobsen
An t Cha ir

19 5 2
size + tonality

arne jacobsen
1952
color + tonality + size

ant ant

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Handlettered Postcard Colophon

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The goal for this project is to explore and learn to do handlettered type. Students each have chosen a quote to explore and based off of this quote, students are to create a 4 x 6 postcard. The type is done in pen and ink and later xed in Adobe Illustrator. Below is the nal postcard design and several other color variations.

Designed by: Serene Cordova Course Title: Typography and Design Date: November 12 2013 Fonts: Univers

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Title of the Project Title of the Project

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.

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.

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.

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Title of the Project Title of the Project

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.

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.