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compendium F A L L 2 01 4
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capline x-height
baseline
hairline
ascender
terminal
shoulder
arm eye
Acquainted apex
spur
tail
bowl
counter
descender
serif
fillet
crossbar
stroke
Assignment 1.1 // Anatomy of Type Typography is an intensely visual form of communication.
communication. As readers scan a page they are subconsciously
Because this visual language communicates thoughts and
aware of both functions: first they survey the overall graphic
information through human sight, its history can be seen
patterns of the page, then they parse the language, or read.
through world events, architectural development, and art
Good typography establishes a visual hierarchy for rendering
history. Typography is the balance and interplay of letterforms
prose on the page by providing visual punctuation and graphic
on the page, a verbal and visual equation that helps the reader
accents that help readers understand relations between
understand the form and absorb the substance of the page
prose and pictures, headlines and subordinate blocks of text.
content. Typography plays a dual role as both verbal and
Typography ///
Acquainted Acquainted Acquainted Acquainted Bodoni Helvetica Baskerville Century School Book
Assignment 1.2 // Understanding Anatomy The alphabet is a series of elemental visual signs in a fixed
even though they have the same point size. To the designer, this
sequence, representing spoken sounds. Each letter signifies
means that one cannot mix historic families. They may have the
only one thing: it’s elementary sound or name. The twenty-six
same point size, but nothing is really similar. The one exception
characters of our alphabet can be combined into thousands
is that early Modernism defined ways to mix serif and san serif
of words, creating a visual record of the spoken language.
families in the same document, only as long as the usage was
This is the magic of writing and typography, which have been
defined. You can never succeed at missing serif families together
called “thoughts-made-visible” and “frozen sounds.” There is
or san serif families together. The only two anatomical attributes
remarkable range that exists between historic families of type,
that all type families share are the stroke and the baseline.
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Acquainted Acquainted Acquainted Acquainted
Assignment 2.2 // Understanding Anatomy A font is a set of characters of the same size and style
between characters must be carefully controlled to achieve
containing all the letters, numbers, and marks needed for
an evenness of tone with the font. Tremendous diversity
typesetting. A typographic font exhibits structural unity when
of form exists in the typographic font. Twenty-six capitals,
all the characters relate to one another visually. The weights
twenty- six lowercase letters, ten numerals, punctuation, and
of thick and thin strokes must be consistent, and the optical
other graphic elements must be integrated into a system
alignment of letterforms must appear even. The distribution
that can be successfully combined into innumerable words.
of lights and darks within each character and in the spaces
Typography ///
Acquainted Acquainted Acquainted Assignment 3.1 // Anatomy and Cropping Fundamental to all typographic design is the interplay
Typically
between
letterform
organic in quality depending on the structure or style of
defines a particular counter form. Form and counterform are
the letter. An awareness of this inter- relationship of form
reciprocal values and completely interdependent and integral
and counter form is essential tin typographic design.
letterform
and
background.
Every
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.
these
counterforms
are
either
geometric
or
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Assignment 4.1 // Kinetics Each individual square and its letterform is seen as an
articulate “aurally” and visually the typographic details within
independent typographic composition that investigates form
each composition, as well as, the whole.
and counter form, figure ground relationships, asymmetry/ symmetry, static and dynamic placement. The “totems” present sequential order and visual flow, while emphasizing rhythmic pattern and punctuation as dynamic flow. They also should
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Assignment 5.1 // Counterpoint When creating a visual hierarchy in typography space, a
Elements have a counterpoint relationship when they have
designer balances the need for harmony, which unifies a design,
contrasting characteristics, such as size, weight, color, tone,
with the need for contrast, which lends vitality and emphasis.
or texture. Counterpoint relationships bring opposition and
As in music, elements can have a counterpart or a counterpoint
dissonance to the design.
relationship. Typographic counterparts are elements with similar qualities that bring harmony to their spatial relationship.
Typography ///
UPPERCASE
lowercase
EHFILT
fijlt
KYMNY
k
VW
vwxy
AZ
z
BDGPJRPU
abdghmnpqru
SCQO
ecos
Assignment 6.1 // Structure The most elementary forms of letters are a visual “code� of
sans serif or serif. An entire alphabet can be categorized using
simple strokes that is recognizable through our experience
only six basic underlying visual combinations of strokes as the
with handwriting. Each of the upper and lower case letters
example.
is distinct in structure. All are built by combining vertica, horizontal, slanted, and curvilinear strokes. Letterforms derive their character from combinations of these basic strokes and not from being light or bold, wide or narrow, roman or italic,
Typography ///
Typographic Page // Intro When developing a type and image relationship, you have to
a typographic study that “interprets� a relationship to the form
recognize that type and image are fundamentally different
of the chair they designed. The goal is to discover relationships
languages. The challenge is to develop similarities so that
in form and division of space. Then, using the designer’s
two different things look like one single thing. The key is the
name, the name of the chair, and the date of its manufacture,
ability to find and exploit relationships. To make relationships
impose the words in a typographic study that demonstrates
you need to relate using proximity, alignment, and form.
relationships to the chair.
Using the initials of your designer, impose the letterform in
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Typographic Page // Designer’s Initials
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Typographic Page // Designer-Chair-Date
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Typographic Page // Final
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LUDWIG MIES VAN DER ROHE.
the barcelona chair.
AN AID TO MODERN DESIGN.
Front / Back Cover
BEHIND THE CHAIR
BA
o
The n of m tio crea
HAI A C sign.
de dern
LO RCE
N
s in R aid
the
The Barcelona chair was designed by
LUDWIG MIES VAN DER ROHE for the German Pavillion in the Internation Exposition in 1929. Van der Rohe’s designs in both his furniture and architecture were simplistic and clear; he saught to create structures that had minimal framework and open space. This is evident in the Barcelona chair’s design.
CH
Even though there are industrial qualities seen, the chair entails a lot of hand
AI
craftsmanship. In 1953 van der Rohe relin-
R
quished his rights and name on the design to Knoll. This collaboration renewed the popularity of the chair.
Inside / Content
Hangtag // Structuring Multi-Page Typographic Layout
Basic competencies:
repetition within variety /
typographic contrasts
visual rhythm
form and counterform
visual compensation
counterpart | counterpoint
proximity
Compositional principles:
scale: point line and plane
visual hierarchy
unity within variety
form to void relationships optical alignments axial emphasis/ common movements
A N T. ELEG IC. LIST S I MP AL. T I ON F UNC
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Hangtag // Final Images
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Hangtag // Final Images
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The Bucket // Intro and Title Everyone loves to sit back and enjoy an alcoholic drink on
pallette, typography and bottle shape. I decided to base my
occasion. The most casual observer is aware of the current
name of my company around the Carribean folklore diety,
revolution that is taking place for the design of the packaging
Mama de Leau. This is french for “Mother of the River�. It gives a
and label. Many companies need to have a good image behind
back story for the rum in a playful manner.
their idea. The focus of this project was to design a label and package for a spiced rum drink. There was much research needed in order to determine the name of the brand, the color
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The Bucket // Rum Label Flat Design
Mama De L’eau blended with caramel spice & other natural flavors
GOVERNMENT WARNING (1) ACCORDING TO THE SURGEON GENERAL, WOMEN SHOULD NOT DRINK ALCHOHOLIC BEVERAGES DURING PREGNANCY BECAUSE OF THE RISKS OF BIRTH DEFECTS. (2) CONSUMPTION OF ALCHOHOLIC BEVERAGES IMPAIRS YOUR ABILITY TO DRIVE A CAR OR OPERATE MACHINERY, AND MAY CAUSE HEALTH PROBLEMS.
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The Bucket // Final Images
Typography ///
The Bucket // Final Images