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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
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meanline
capline
baseline
Every typeface is unique and has its own
personality. However the one thing they
all have in common is the baseline and
stroke.
Overlap
with ll
without ll
Serifa
Garamond
Bembo
Univers
Carambola Carambola
Carambola
Carambola
Carambola Carambola Carambola Carambola
The top half of the word is more readable
due to how we read from top to bottom and
left to right. In this case the bottom half is
still legible.
Legibility Word
Carambola
Carambola
Carambola
Fundamental to all typographic design
is the interplay between letterform and
background. Every letterform denes
a particular counter form. Form and
counterform are reciprocal values and
completely interdependent and integral to
a letters completeness as a design. The
counterform is not just what is left over in
the background. The counterform 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.
An awareness of this inter-relationship
of form and counterform is essential in
typographic design.
Legibility Letter
A
Cropping Studies
Counterpart and Counterpoint
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Counterpart and Counterpoint
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.
Counterpart and Counterpoint
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.
Kinetics
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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. Letter forms 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.
The Structure of Letters
EFLHTI
KMNY
wxvy
AZ
bdhmnpqruga
CQOS
Iifjt
ceso
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k

WXV
BDGJPRU
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.
The Structure of Letters
F
V
Chair Hang Tag
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 that demonstrates
relationships to the chair.
M
Size, Weight, Color
Case, Size, Color, Weight
D
Size, Weight, Color
Size, Weight, Color
Chair Hang Tag
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D
Size, Weight, Color, Case
Size, Weight
Size, Weight, Color
Size, Weight, Color
Michele De Lucchi
1983
First
Michele De Lucchi
1983
Chair Hang Tag
Size, Weight, Color, Case, Kerning
Size, Weight
Michele De Lucchi
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Size, Weight, Kerning
Weight, Kerning
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First
Chair Hang Tag
Size, Weight, Color, Case
Size, Weight, Kerning, Color
F
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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 heiarchy must be clear
and decisive so the roles each plays in the
communication are clear. In design things
are not equal
Chair Hang Tag
The back and armrest construction
is a true eye-catcher. It consists of a
steel tube, bent to form a circle, which
supports a exible backrest comprising
a round wooden disk on rubber bearings
and two wooden spheres as armrests.
The tube is welded to the front legs of
the simple stool, which forms the seat
frame, almost completely engulng
the sitter. Although the construction
is extremely stable, the reduced
elements radiate a strong impression
of lightness. The restrained use of
decorative elements gives First an
almost classic air among the Memphis
objects, making it suitable for furnish-
ing conventional interiors.
We ofen speak of the relationship between client and
designer, but the frst client is a designer himself, with
his conscience and his freedom as a goal. I am deeply
convinced that all the designers who do not have this
point very clear they hurt their work.
Michele De Lucchi
Michele De Lucchi
1983
Michele De Lucchi
Designing has always been difcult... I believe
that the frst condition, the one that most triggers
the spring of the invention, is the sense of free-
dom. Te freedom in the end is the best project
that man can build. We ofen speak of the rela-
tionship between client and designer, but the frst
client is a designer himself, with his conscience
and his freedom as a goal. I am deeply convinced
that all the designers who do not have this point
very clear they hurt their work.
Michele De Lucchi was born in
1951 in Ferrara and graduated
in architecture in Florence. His
professional work has always
gone side-by-side with a personal
exploration of architecture, design,
technology and crafts. In 1990
he founded Produzione Privata, a
small-scale production and retail
company through which Michele
De Lucchi designed products that
are made using dedicated artisans
and craft techniques.
First by Michele de Lucchi was
one of the few designs intended
for the broad public, and quickly
became a bestseller. The back
and armrest construction is a
true eye-catcher. It consists of a
steel tube, bent to form a circle,
which supports a exible backrest
comprising a round wooden
disk on rubber bearings and two
wooden spheres as armrests. The
tube is welded to the front legs
of the simple stool, which forms
the seat frame, almost completely
engulng the sitter. Although the
construction is extremely stable,
the reduced elements radiate a
strong impression of lightness.
The restrained use of decorative
elements gives First an almost
classic air among the Memphis
objects, making it suitable for
furnishing conventional interiors.
Michele
De

Lucchi
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M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
M i c h e l e D e L u c c h i
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola
Carambola