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Shetla Waters "Foundations of Calligraphy,” Letter Arts Review, Vol. 15, #4, 2000, pp. 42-53. Intentionally Blank Parr 13 ( Hy Design and Layout, Part 4 Unies the pincpe of god design aap Pls to specific problems of ayo they Fn theresa The ive pines, ot Ut InPart a aity, oe conret epias Tempt sexplore ow thee prnipescan Be putt wok for ultarian prt auch as Ios cereals invitations, na ers an forpecs using pros and psty, Tra slates contre scene text oranges ‘rth pour desig sautons. Each example top evans pec prsip, although ber Unity Unity iahieved by using he tye compo ‘ent pointy grown enero, Un, "heaspec of desig tha embraces the ot ‘rll avayete present ina sues eo pst though snot usted epoca ‘sari, once Radia nd tema sa intel rr ing, forthe mot foal arent Syatrys ie fread, etnies dc "ations, anf expressing compe, with no ‘ens mocencet By Shelia Waters 2. Opi entering Faning the vert cer of sheet simp bythe etal hrizontl cee pte ap ess tbe lower than ely Il magi recs the bot marin em on all Trastanally, he btm margin mst spor thas toposes, node o prevent Imeappenrance of pcre “alin ot” Maseproduced mats ave equal mario they can be sete verally or orzo. tly thus sacrificing de sense of blanc ‘Optical center i maved high enough tomake the anasabve an clo tapes beesual ig) This bose copa et tor as crossbars for E-andF atom opti enter an the upper wtf 8 iss than thelower dost shape, the ines ragged left and eight, i more plessing when the weight i conontatt Sbovehorzontal cane, with doninane ‘words nea the top, rather than ely. These say be given emphasis of siz aor Weigh {Fig 2) Thecasclly beat human ace ise sped, with the retest wih cross Uheears a ro, with he ine oming the atrovent ote egg (Fl 94) he jw a the wget athe fend nao wend Ie face unatractve (Fig 38). erie, fa ayout sage wth more weight

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