Kenny Routt 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.

Anatomy of Type When different fonts, of the same size, are overlapped, it is very apparent how different they are. You can make a word signicantly bigger or smaller, just by changing the font type, with out changing the size. The designer can achieve many different looks and sizes, solely by changing the font. The only two anatomical attributes that all type families share, are a baseline and the fact that they are all composed of strokes.

Antagonist
descneder terminal crossbar counter loop spine stem serifs
link

Antagonist Antagonist Antagonist

cap line mean line base line

stroake

ear

Apex

shoulder

ascender

arm

bowl

hairline

filet

spur

tail

Anatomy of Type 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. After this excercise, I became aware of the fact that, the top half of word is much easier to read and more legible than the bottom half, when disected. Letters like O, g, A and S are exceptions to the norm of upper half legibility. After this excercise, I became aware of the fact that, the top half of word is much easier to read and more legible than the bottom half, when disected. Letters like O, g, A and S are exceptions to the norm of upper half legibility.

Counterform of a letter 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.

Space between two letters

Antagonist Antagonist Antagonist

Counterpart and Counterpoint

Kinetic studies 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 to be 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. Expect some noble necessary part of any assignment.

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counterpoint relationships counterpart relationships

t
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Title of the Project

Title of the Project

H W

W H j

size + weight

size + case

size + width

Size + weight

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.

width + case + transparency

B ene

size + weight + case

size + case + color

to l s l a t sk

eg

ne

J
N S H A

J
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s k a ls to l
size + case + color

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Title of the Project

Title of the Project

H ans W egner

1 9 6 3

1 9 t e n Be ol 6 t s l 3 a Sk
Hans

W egner

size + case + width

9 3 6 3
be n et s kals tol
size + tonality + width

Ha1 n Wegner s

HA N

3
S

WE G

NER

B ene t s

kalsto l

case + size + color

Horizontal hang tag 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 expresVertical hang tag

N E R W E G S H A N

sion 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.

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Be

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R E N E G W S N A H
6

3
3

W
Hans J.Wegner is considered to be an important innovator in traditional furniture design as well as a pioneer in Danish Modernism. He earned fame with his exclusive, perfectly crafted chairs, which often drew on traditional models and were made by hand. After participating in Low-Cost Furniture Design, the 1948 competition held by the MoMA in New York, he began working with the relatively new process of forming laminated wood, although only on a two-dimensional level. A preliminary Skalstol prototype from 1949, with its three separate shells, was probably a forerunner of the Eamess Lounge Chair from 1956. It already features the intelligent, highly stable leg construction which consists of just two pieces of laminated wood and thus saves material inputs. In 1963 Wegner manufactured another Skalstol prototype, this time with a distinctive form that could almost be called classic. The latter chair only has three legs, and the rear leg doubles as the mounting for the backrest. He highlighted the curvature of both pieces of laminated wood visually by having the front legs extend sideways rather than forward. The distinctly raised ends of the plywood shell in combination with an extremely low center of gravity lend the chair a representative form that evokes chairs used by African rulers. Japanese tradition was the source of Wegners idea of coating the surface with red varnish, and it often played an important role in other works, too. As the Skalstol demonstrates, a traditional notion of ones role can also yield great originality and elegance. MK

l o t s l a k s t Be n e

E R E G N W S H A N

Hans J.Wegner is considered to be an important innovator in traditional furniture design as well as a pioneer in Danish Modernism. He earned fame with his exclusive, perfectly crafted chairs, which often drew on traditional models and were made by hand. After participating in Low-Cost Furniture Design, the 1948 competition held by the MoMA in New York, he began working with the relatively new process of forming laminated wood, although only on a two-dimensional level. A preliminary Skalstol prototype from 1949,

with its three separate shells, was probably a forerunner of the Eamess Lounge Chair from 1956. It already features the intelligent, highly stable leg construction which consists of just two pieces of laminated wood and thus saves material inputs. In 1963 Wegner manufactured another Skalstol prototype, this time with a distinctive form that could almost be called classic. The latter chair only has three legs, and the rear leg doubles as the mounting for the backrest. He highlighted the curvature of both pieces of laminated wood visually by having the front legs extend sideways rather than forward. The distinctly raised ends of the plywood shell in combina-

tion with an extremely low center of gravity lend the chair a representative form that evokes chairs used by African rulers. Japanese tradition was the source of Wegners idea of coating the surface with red varnish, and it often played an important role in other works, too. As the Skalstol demonstrates, a traditional notion of ones role can also yield great originality and elegance. MK

Benet skalstol

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Benet skalstol

3 96

s n a

3 6 19

s n a