N k

2010

atalie

balloona

wo o d

uc

arm

shoulder

Imagin
descender
loop

sink

bowl

Anatomy of Type

Understanding Anatomy

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.

Using four different type faces we prepare to better understand the anatomy of type.

Imaginary
Capline Meanline x-height Baseline

Imaginary
descender link loop hair line serif

Imaginary Imaginary Imaginary

ear arm shoulder bowl

jot

tail

Understanding Anatomy Legibility Word Legibility Letter

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?

Which is more legible when covered, the bottom half of the word or the top half os the word? When the bottom half of the word is covered it is more legible.

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.

Imaginary Imaginary Imaginary Imaginary

Imaginary Imaginary Imaginary

R
Cropping Studies 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 the project presented on this page. presented on this page. Brief description of

Anatomy Cropping

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.

The Structure of Letters

Form/Counterform

When creating a visual hierarchy in 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. typographic space, a designer balances the need for harmony, which unies a design, with the need for contrast, which lends vitality and emphasis.

stroke categories

UC

LC

THIFLE

iljtf

MNYK

WVXY

yxwv

AZ

BDPRUJG

abdgnurpqrh

COSQ

ceso

8 R JJ SS U T NM 9P S B UV OQ
H e

YX KF

Typographic Kinetics
value distribution models:

Wordplay

ern and punc-

hic s the whole

1
equal spacing between examples...

Every letter has a personality you can identify. Fragmentation is not the goal in and of itself. Everything is adjustable Every letter has a personality you
can identify. Fragmentation is not and its a case-by case decision of how the goal in and of itself. Everything is adjustable and its a case-byfar to go. The form you seek is one where 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 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.

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.

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.

ory or make

ion)

you are still able to read the word. So this of fracture.

of your word ut not too exction.

4 color red only

Remember...We should be able to read the word. If it becomes too abstract to read, revise for readability.

Mg I
a

I m

y r g N I A m i a i n r A y g IMa y
y

R iN A
A

T U SHO
whisper

O H S S

T U

T U O SH

U SHO T U HO

g in

shout/whisper

Wordplay

Wordplay

addition subtraction
addition/subtraction

whole
fractured fractured

whole/fractured

Wordplay 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.

outside
insi de
outside/inside

Typographic Page

Typographic Page

2 0

k
ba

N
wo od

N k
10 20

llo

on

ata

lie

bal

na loo d

ba

wo o

llo

on

uc

size + weight

size + weight

50

ie

balloona

ba

Na tal

llo

on

Kurch

201 0

N
k

w d o o

weight+ face

size + weight

Typographic Page

Typographic Page

weight+ face

b a l lo ona

size + case

size + width

k
wood
balloon
2 0 1 0

uch

K
uch
wo

od

size + weight

n a t a l ie
wood ballo on stool

Kurch 2010

k
natali e

N
n loo bal ol sto
2010

ballo

ona

atalie

uch wood

ba

llo

on

ATALIE

Typographic Page

Multi-Page Typographic Layout and the 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.

size + case

n K
B L AL OO NA

size + width

K
uch 2010
balloona

wo

od

n
atalie

BALLOONA

atalie

atalie

Kruch

2010

uch

Multi-Page Typographic Layout and the Grid

Multi-Page Typographic Layout and the Grid

BALLOONA
Natalie Kruch, designer of the Balloona Stool and a Canadian native born in 1985 in Edmonton, Alberta, was a third year undergraduate student at the University of Alberta, when she created a version of the stool as part of a class assignment.

Designer: Natalie Kruch Speciction: 18 wooden high frame +14 wooden square seat 500 balloons Manufactored Date: 2007

Recognition: Was featured at The Philadelphia Museum of Arts Decorative Arts & Design Origin: Alberta,Canada

"I have an afnity for bright colors and was researching the use, re-use, and appreciation of everyday objects," explains Kruch.

Natalie Kruch, designer of the Balloona Stool and a Canadian native born in 1985 in Edmonton, Alberta, was a third year undergraduate student at the University of Alberta, when she created a version of the stool as part of a class assignment.

BALLOONA
oBallo of the e born r e n desig ian nativ d uch, lie Kr d a Cana Alberta. ta a N ol an dmonton, to S E na uate 85 in rgrad unde lberta, in 19 r a e y A third versity of of the as a n ni She w t at the U a versio nment. d n ig stude he create class ass s a n f e o h rt w as pa stool

BALLOONA
"I have an afnity for bright colors and was researching the use, re-use, and appreciation of everyday objects," explains Kruch.

"I ha v color e an affin s and ity f o w re-us e, an as researc r bright d app h objec ing t re ts," expla ciation of he use, ins K every ruch. day

o f a l

ginary
tail hair line

Capline Meanline x-height Baseline

SHOUT
whisper

SH

T U O UT
SH O

SHOUT