1.

1 Anatomy of Type

heading: baseline from top 5 picas

1.2 Anatomy of Type (Overlap & Legibility of Word)

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.

body text: baseline from top 10 picas

As a designer, seeing the range between these historic families can help breakdown the differences between their weights, width, etc. Generally, the rule of mixing font families is to combine the use of a sans serif and a serif font family. For example, I could use a font from the Univers family as a headline and use a font from the Bodoni family as my copy. column width 14 picas column interval 1 pica

ascender llet ear shoulder spine capline meanline stroke baseline

apex stem link

Aggressive
bowl crossbar serif loop descender counter hairline

terminal

outside and inside margin 16 picas

bottom margin 6 picas

top margin 4 picas

1.2 Anatomy of Type (Legibility of Letter)

1.3 Anatomy of Type (Anatomy & Cropping)

I went through multiple alterations of this word to explore what would look expressive but still retain legibility of each letter. It was difcult, but with the help of my instructor this assignments result became easier to attain. outside and inside margin 16 picas

Cropping each letterform helped me explore the negative and positive space. The shapes that were created by the strokes of each letter helped me see how to see each square as its own composition, and not as a scaled/cropped letter.

n each side of center

1.4 Typographic Kinetics

1.5 Counter_part/point

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 whole (word). Both must be juggled to nalize the solution structured with 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 failures at rst. Revisions are a necessary part of any assignment.

Fundamental to all typographic design is the interplay between letterform and background. An awareness of this interrelationship of form and counterform is essential in typographic design. Every letterform denes a particular counterform. Form and counterform are reciprocal values and completely interdependent and integral to a letters completeness as a design.

1.5 Counter_part/point

3.1 Multi-Page Layout / vertical

The counterform is not just whats left over in the background. The counter form is a new entity that emerges through interaction with the form. Typically these counterforms are either geometric or organic in quality depending on the structure or style of the letter. In the counterforms of letters there exists a fascinating world of form waiting to be explored by the designer.

3.1 Multi-Page Layout / horizontal

For this assignent we chose a designer and one of their chairs to create interesting compositions and layouts. We were required to lightly research our artist and collect information about them and their piece we selected. I wanted to experiment with curvilinear elements to create movement and create unity with the chair.

4.1 Visual Identity / shakesbeere

4.1 Visual Identity / shakesbeere

Propose a new micro-brew brand and develop its visual identity including packaging and label design for three different varieties (ale, stout, lader, etc).

One of my ideas for this project was to create beers based off of Shakespeare pieces. The colour of the ales represent some of the tones in these stories. I also tried to express the emotion through my handlettering.