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caRAma rA bo L am
bRR aaa
MM
cc
A oLambc a
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
asce
nd
er
hai
rlin
e
sho
ud
er
stro
ke
bal
l ter
min
al
op
en c
ou
nte
r
seri
f
tail
term
inal
stem
lob
e
spu
r
cou
nte
r
bo
wl
up
per
case
fin
ial
low
erca
se
aper
ture
bra
cket
axis
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 fill
without fill
Serifa
GaramondBembo
Univers
CarambolaCarambolaCarambolaCarambola
CarambolaCarambolaCarambolaCarambola
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
CarambolaCarambola
Carambola
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.
Legibility Letter
A
Cropping Studies
Counterpart and Counterpoint
RaMc
Counterpart and Counterpoint
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.
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.
Kinetics
caRAma rA bo L a
A oLamb
l
oa
C m
c Rab
C a R a M b lO A
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
z
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
FV
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 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.
M
Size, Weight, Color
Case, Size, Color, Weight
D
Size, Weight, Color
Size, Weight, Color
Chair Hang Tag
MD
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
Lucchi
De
Michele
Size, Weight, Kerning
Weight, Kerning
Michele
De Lucchi
First
1983
Michele D e Lucchi
1983
First
Chair Hang Tag
Size, Weight, Color, Case
Size, Weight, Kerning, Color
First
1983
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
The back and armrest construction is a true eye-catcher. It consists of a steel tube, bent to form a circle, which supports a flexible 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 engulfing 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 often speak of the relationship between client and designer, but the first 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 difficult... I believe
that the first condition, the one that most triggers
the spring of the invention, is the sense of free-
dom. The freedom in the end is the best project
that man can build. We often speak of the rela-
tionship between client and designer, but the first
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 flexible 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 engulfing 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.
MicheleDe
LucchiFirst
1983
Michele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De LucchiMichele De Lucchi
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