MODERN ARCHITYPE Winn Chen
MODERN ARCHITYPE Winn Chen
Copyright Š 2013 by Winn Chen All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. Printed in the United States of America
Dedicated to my beloved family.
CONTENTS 06 Grid 08 Baseline 10 Paragraphs 12 Widow & orphan 14 Rivers
16 Type anatomy 18 Leading 20 Kerning 22 Dashes
30 Rhythm 32 Proportion 34 Glyphs 36 Colophon
24 Quotation mark & Apostrophes 26 Contrast 28 Hierachy
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GRID A two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content. The grid serves as an armature on which a designer can organize text and images in a rational, easy to absorb manner. The less common printing term “reference grid,� is an unrelated system with roots in the early days of printing.
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BASELINE The baseline is the imaginary line upon which a line of text rests. In most typefaces, the descenders on characters such as g or p extend down below the baseline while curved letters such as c or o extend ever-so-slightly below the baseline. The baseline is the point from which other elements of type are measured including x-height and leading. The baseline is also significant in the alignment of drop caps and other page elements.
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FLUSH LEFT / RAGGED RIGHT The edge is hard and the right edge is soft. A good rage looks pleasantly uneven,
FLUSH RIGHT/RAGGED LEFT A variant of the more familiar flush left setting. It is common wisdom among
with no lines that are excessively long or
typographers that flush right text is hard
short, and with hyphenation kept to an
to read, because it forces the readers eye
absolute minimum.
JUSTIFY
to find a new position.
CENTERED
The arrangement of text into columns with
It is symmetrical, like the
hard or soft edges is called alignment. It
facade of a classical building.
has even edges on both left and right,
Centered type is often
has been the norm since the invention of
employed on invitations, title pages,
printing with movable type.
certificates,and tomb stones. The edges of a centered column are allowed W be dramatically uneven.
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WIDOWS A paragraph ending line that falls at the beginning of the following page / column, thus separated from the rest of the text.
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ORPHANS A word or very short line that appears by itself at the end of a paragraph. Orphans result in too much white space between paragraphs or at the bottom of a page.
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RIVERS It is the gaps in typesetting, which appear to run through a paragraph of text. It can occur regardless of the spacing
wide inter-word spaces caused by full text justification.
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settings, but are most noticeable with
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BOWL
BAR
BODY
SHOULDER
Typography COUNTER
TERMINAL
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STEM
The lowercase character stroke which extends above the x-height.
The imaginary horizontal line to which the body, or main component, of characters are aligned.
X-HEIGHT BASELINE
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ASCENDER LINE
DESCENDER LINE
The height of the body, minus ascenders and descenders, which is equal to the height of the lowercase ‘x’.
The lowercase character stroke which extends below the baseline.
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LEADING The distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the forms to increase the vertical distance between lines of type.
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+4 +2
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+3
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KERNING Adjusts the space between individual letter forms, while tracking (letterspacing) adjusts spacing uniformly over a range of characters.
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EN DASH Traditionally half the width of an em dash. In modern fonts, the length of the en dash is not standardized, and the en dash is often more than half the width of the em dash.
EM DASH Often demarcates a break of thought or some similar interpolation stronger than the interpolation demarcated.
HYPHEN A punctuation mark used to join words and to separate syllables of a single word. The use of hyphens is called hyphenation.
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12'-1"
12'-2"
12'-3"
12'-4"
12'-5"
12'-6"
12'-
12'-3"
12'-4"
12'-5"
12'-6"
12'-7"
12'-8"
“
Type’s a beautiful group of letters,
APOSTROPHE A punctuation mark, and sometimes a
Latin alphabet or certain other alphabets. In English, it serves three purposes.
12'-1"
12'-2"
diacritic mark, in languages that use the
12'-1"
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12'-2"
12'-3"
12'-4"
12'-5"
12'-6"
12'-7
12'-10"
12'-11"
12'-12"
12'-13"
12'-14"
12'-8"
12’-9”
QUOTATION MARK 12'-7"
Punctuation marks surrounding a quotation, or a literal title or name. Quotation marks can also be used to indicate a
12'-6"
different meaning of a word or phrase than the one typically associated with it
12'-5"
and are often used to express irony.
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7"
12'-8"
not a group of beautiful letters.
12'-2"
12'-3"
“
– Matthew Carter
12'-8"
12’-9”
12'-10"
12'-11"
12'-12"
12'-1"
-7"
12'-13"
12'-14"
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CONTRAST
that makes an object (or its representation in an image or display) distinguishable. In visual perception of the real world, contrast is determined by the difference in the color
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The difference in luminance and/or color
and brightness of the object and other objects within the same field of view.
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HIERARCHY Expresses an organizational system for content, emphasizing some data and diminishing others. A hierarchy helps readers scan a text, knowing where to enter and exit and how to pick and choose among its offerings.
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RHYTHM An essential attribute of all art forms. It is moving force connecting the elements within a composition.
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PROPORTION The relation of one part to another or to the whole with respect to magnitude, quantity, or degree.
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GLYPHS “the specific shape, design, or representation of a character�. It is a particular graphical representation, in a particular typeface, of an element of written language, which could be a grapheme, or part of a grapheme, or sometimes several graphemes in combination (a composed glyph).
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COLOPHON Typeface Used: Frutiger LT Std 45 Light Frutiger LT Std 55 Roman Frutiger LT Std 65 Bold Instructor: David Hake Paper & Publisher: Epson Heavy Weight 4 Star Matte | Winn Chen Program Used: Adobe Indesign | Illustrator | Photoshop
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