Bowl

Fillet

Ear

Descender

Shoulder

Spine

Link

rline

Stroke

Capl

ine

Mea

nlin

e

Base

line

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

The different families of type display

infinite variability from one font to

another. This displays the importance of

recognizing that the different typefaces

exhibit their own purpose and personality.

Among these differences, the only

similarities they share are the baseline and

stroke.

Anatomy of type

Asparagus

Bo

wl

Co

un

ter

Fille

t

Term

inal

Link

Hairline

Ear

Des

cen

der

Tail

Sh

ou

lder

Ser

if

Loo

p

Asparagus

Ap

ex

Sp

ine

Link

Cro

ssb

ar

Hairline

Str

oke

Capline

Meanline

Baseline

Asparagus Asparagus Asparagus Asparagus With Fill

Without Fill

GaramondFuturaBodoni Serifa

Fundamental to all typographic design

is the interplay between letterform and

background. Every letterform defines

a particular counter form. Form and

counterform are reciprocal values and

completely interdependent and integral to

a letter’s 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.

Anatomy of type | Single Letter

Words with their top half covered, aren’t as

readable or recognizable as words with the

bottom half concealed. This demonstrates

the subconcious function that humans

have built around reading and writing

conventions, commonly from left to right,

and from top downwards.

Certain letters are more readable than

others, under the situation where parts

of the letter are concealed. The more

readable ones usually display a more

asymmetric shape, as well as other more

recognizable traits such as the ear in

certain versions of the letter g.

Anatomy of type

Asparagus Asparagus

Asparagus e

Anatomy of type | Cropping Studies

Anatomy of type | Counterpoint and Counterpart

Anatomy of Type | Counterpart and Counterpoint

5R

A G

When creating a visual hierarchy in

typographic space, a designer balances the

need for harmony, which unifies 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.

Anatomy of Type | Counterpart and Counterpoint

Every letter has a personality you can

identify. Fragmentation is not the goal in

and of itself. Everything is adjustable and

it’s 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. It’s the “part

(letterform) to”whole” (word).

Both must be juggled to value. You can’t

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.

Anatomy of Type | Typographic Kinetics

e A

R g

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.

Anatomy of Type | The Structure of Letters Anatomy of Type | The Structure of Letters

EFHILT iflt

KMNY k

VXW vwxy

AZ z

BDPRJU abdghmnpqru

CGOQS ceos

AE

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.

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 designer’s

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.

Typographic page a Chair

g N

Gn

Size + Case

Size + Case

N

N

GGN

NG

Size + Weight

Size + Weight

Size + Weight

Size + Weigiht

55

Geo

rge

Nels

onC

ocon

ut C

hair

T

1

9

5

5

G e o

r g

e

N

e l

s o

n

NUT

ACH IR

G e o r g e N

e l s o n

1 9 5 5

Size + Weight

Size + Weight

Size + Value

Size + Value

el sn

c o

c

o

n

u

t

c

h

a

i r 1

9

5

5

195555955

195

C O C O

N U T C H A I R

G e o r g e N e l s o n

1 55/

1955

Size + Value

Size + Value + Case

Size + Value

Size + Value

Type generally falls into two primary

categories; informational and or

expressive. It’s 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

In 1945, Herman Miller co.

appointed Nelson as the

Director of Design, disregarding

the fact that Nelson had no

previous working experience of

furniture design. Depree, Chair-

man of Herman Miller, became

interested in Nelson’s insight

into making furniture that will

look innovative and useful.

Nelson was offered working

freedom within his contract,

allowing him to float outside

the Herman Miller design

group, and use designs from

other architects Nelson has

worked with. 1947 saw the

affirmation of his directorate

position, and held the work-

ing title until 1972.

”“WHAT IS THE CROWNING GLORY OF YOUR

CIVILIZATION... THE SYMBOL AS CLEAR A STATEMENT

AS THE PYRAMIDS, THE PARTHENON, THE CATHEDRALS?

WHAT IS THIS SYMBOL? WHAT IS ITS NAME?

- George Nelson

1 9

5 5

C O C O N U T C H A I R

1 9 5 5

M O D E R N I S T D E S I G N

foam rubber, leather, plastic, steel, nylon

C O C ON U T CHAIR

G E O R G E N E L S O N

Ge

or

ge

Ne

l

so

n

WHAT IS THE CROWNING GLORY OF YOUR

CIVILIZATION... THE SYMBOL AS CLEAR A STATEMENT

AS THE PYRAMIDS, THE PARTHENON, THE CATHEDRALS?

WHAT IS THIS SYMBOL? WHAT IS ITS NAME?

In 1945, Herman Miller co.

appointed Nelson as the Director

of Design, disregarding the fact

that Nelson had no previous

working experience of furniture

design. Depree, Chairman of

Herman Miller, became

interested in Nelson’s insight

into making furniture that will

look innovative and useful.

“ ”

Nelson was offered working

freedom within his contract,

allowing him to float outside

the Herman Miller design

group, and use designs from

other architects Nelson has

worked with. 1947 saw the

affirmation of his directorate

position, and held the working

title until 1972.

COCONUT

CHAIR

Coconut Chair1955

Modernist design foam rubber,

leather, plastic,

Counter

Terminal

Apex

Garamond

Futura

Bodoni Serifa