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Nmontetypecomp2 PDF

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129 views

Nmontetypecomp2 PDF

jlgkygk

Uploaded by

natmonte
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Anatomy of Type

Individual letter forms have unique parts which have changed in visual form over the centuries. A nomenclature helps identify the major components of their construction. The evolution of letterform styles over time is a result of optical adjustments to these basic components by type designers over the ages.

Ascender

Shoulder

Serifs

Bowl

Humdinger
Descender Crossbar Counter Stem Loop Spur Link Terminal Stroke

Ear

Jot

Eye

Capline Meanline X-height Baseline

Overlap

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 tomixing families of type what can be done and what cannot be done? What are the only 2 anatomical attributes that all families share?

Humdinger Humdinger Humdinger Humdinger

Legibility Word/Letter

This is a study in legibility of a word. The exercise teaches us that when the bottom half of the word is covered it is more legible that when the top is covered. More of the distinctive attributes of letters are in the top half since we write from top to bottom. This is a study of how much of the letterform can be removed and still read the word. The exercise teaches us to recognize what is distinctive about each letter.

Humdinger Humdinger

Typographic Kinetics

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 where you are still 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. Discovery, experimentation, success and failure are part of any assignment.

Form/ 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.

Typographic Page

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 and division 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

Typographic Page

Typographic Page

E
arnio 1 o A 9 er

63

Typographic Page

A
CH

IR

BA

LL

Poster Project: Type and Image

Using personal artwork and predetermined text, students were asked to create a poster for a gallery show of their work. By using their own work, students began to see how they might develop their own typographic style. Combining simple principles of hierachy and dynamic composition with color and type choices, sophisticated results were achieved.

Multi-Page Typographic Layout and Grid

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.

Multi-Page Typographic Layout and Grid

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