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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.

    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 o

    the project presented on this page.

    Title of the Project Title of the Project

    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.

    Anatomyof Type

    Spontaneousspine

    serif

    bowl

    hairline

    decender

    filet

    shoulder

    counter

    eye

    crossbar

    arm

    tail

    loop

    stroke

    spur

    meanline

    baseline

    capline

    x-height

    beard line

    Since the time of the Greeks, capital

    letterforms have consisted of simple

    geometric forms based on the square,

    circle, and the triangle. The basic shape of

    each capital letterforms can be extracted

    from the Roman letterform template found

    on the Trojan Columns which is composedof a bisected square, a circle, a triangle, an

    inverted triangle, and two smaller circles.

    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.

    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.

    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 o

    the project presented on this page.

    Title of the Project Title of the Project

    When cropping type the top half is more

    legible because your eye is programmed to

    read from left to right top to bottom.

    Anatomy of Type

    SpontaneousSpontaneous

    Spontaneous

    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 in 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.

    Anatomy of Type

    SpontaneousSpontaneousSpontaneousSpontaneous

    Gill SansBaskerville

    Serifa

    Futura

    With Fill

    Without Fill

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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.

    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 o

    the project presented on this page.

    Title of the Project Title of the ProjectAnatomy of Type I Cropping Studies

    Anatomy of Type I Form Counterform

    Fundamental to all typographic design

    is the interplay between letterform and

    background. Every letterform defines a

    particular counter form. Form and counter-

    form are reciprocal values and completely

    interdependent and integral to a letters

    completeness as a design.

    The counter-form is not just what is left

    over in the background. The counter-form

    is a new entity that emerges through

    interaction with the form. Typically these

    counter-forms 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 counter form is essential in

    typographic design.

    Anatomy of Type I Single Letter

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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.

    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 o

    the project presented on this page.

    Title of the Project Title of the Project

    When creating a visual hierarchy in typographic

    space, a designer balances the need for

    harmony. which unifies 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

    the bring harmony to their special 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.

    Anatomy of Type Counterpart and CounerpointAnatomy of Type counterpart and counterpoint

    denotes counterpoint realtionships

    denotes counterpart relationships

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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.

    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 o

    the project presented on this page.

    Title of the Project Title of the Project

    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. Letterforms 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 I T he Structure of Letters

    fijlt

    k

    vwxy

    z

    abdghmnpqru

    ceos

    EFHILT

    KMNY

    VWX

    AZ

    BDGJPRU

    COQS

    Each individual square and its letterform

    is seen as an independent typographic

    composition that investigates form and

    counter-form, figure ground relationships,

    asymmetry/symmetry, static and

    dynamic placement. The totems

    present sequential order and visual flow,

    while emphasizing rhythmic pattern and

    punctuation as a dynamic flow. They also

    should be articulate aurally and visually

    the typographic details within each

    composition as well as the whole.

    Anatomy of Type Typographic Kinetics

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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 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 the demonstrates

    relationships to the chair.

    Typographic Page with a Chair

    Slant + Size

    Case + Size

    GS

    gS

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    Slant + Width

    Weight + Size

    SG

    G S

    Slant + Size

    Face + Slant

    gs

    GS

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    Weight + Case

    Width + Slant

    1935PLYW

    OOD

    GERALD

    SUMMER

    S

    Weight + Face

    Slant + Size

    Gerald

    35Compressed Plywood

    Armchair

    Summers

    G

    S

    Armchair

    erald

    ummer

    s

    1935

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    Size + Slant

    Slant + Weight

    Gerald SummersAR

    MCH

    AIR

    35

    Slant + Weight

    Case + Size

    gerald

    summ

    ers

    1935

    PLYW

    OOD

    GERALD SUMMERS

    1935Arm

    Cha

    ir

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    Type generally falls into two primary

    categories; informational and 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

    This chairwas designed in

    1933 and produced in 1935and this chairwas inspired

    by AlvarAaltos bentplywood chairs which wasin the same decade. Since

    there was no wastage, thischairwas made fromonesingle piece of plywood.

    Its bent plywood that uses

    molds to create curved sur-faces. The chairhas strength

    that comes fromseventeenrectangularveneers thatare all stacked on top of

    each other.

    gerald

    summ

    ers

    1935

    PLYWO

    OD

    Gerald Summers owned a company named The Makers

    of Simple Furniture in London that he started with his wife

    in 1932. Over ten years Summers produced over a hundred

    furniture designs.

    Gerald Summers

    Plywood

    1935

    Its bent plywood thatuses molds to createcurved surfaces. Techair has strength thatcomes from seventeenrectangular veneersthat are all stacked ontop of each other.

    Gerald Summers owned a company named TeMakers of Simple Furniture in London that hestarted with his wife in 1932. Over ten years Sum-mers produced over a hundred furniture designs.

    Tis chair wasdesigned in 1933 andproduced in 1935 andthis chair was inspiredby Alvar Aaltos bentplywood chairs whichwas in the same decade.Since there was no wast-age, this chair was madefrom one single piece of

    plywood.

    Ge

    raldS

    umme

    rs

    ARM

    CHAIR

    35

    Front

    Plyw

    oodChair

    GeraldSummers1935

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