(Kunz, 2004)
Going through Typography: Formation and TransFormation, Kunz analyses and explains the details of typography that a designer must consider when he/she forms the content. More specifically for this brief, Kunz explains the minor details and characteristics of letterforms that make them recognisable and unique.
The following below are just notes taken from Kunz which will aid in understanding the forms of letters in order to effectively create typographic sculptures as well as to inform readers about why letterforms can be interpreted as sculpture.
Each letterform is made from 4 types of stroke
The vertical stroke is unstable and suspended in space.
The horizontal stroke is stable and suggests the flow of reading.
The slanted stroke is ambivalent and is a strong contrast to the predominantly vertical and horizontal composition of typography.
The curvilinear stroke is expansive where its expression ranges from a short curve to a slow, long arch. A curve is circular when the width of the curve is the same as the radii whilst an elliptical curve is one with a changing radius.
"The type of strokes and their combination make each letter unique and provides each letter with meaning" (Kunz, 2004, p.18).
The characteristics of lowercase letters differ more than uppercase as their form more differentiating form makes them easier to identify. They are less restricted by the simplifications and reduction of form.
When used effectively, letterforms can be:
static
dynamic
plain
ornate
light
heavy
To be optically correct, letterforms with horizontal symmetry are smaller on top than on the bottom. When both halves are equal in weight, the letterforms can look unbalanced or crude.
Capital letters, numbers, lower case letters without ascenders or descenders have an even horizontal weight.
Letters with ascenders are top heavy whilst those with descenders are bottom heavy.
Another important aspect to consider is the counter form, which is just an important as the letterform.
The counterform is a new entity, the part of the background that emerges through interaction with the foreground.
"Reversed out of a black background, the counterform of a letter implies a third dimension" (Kunz, 2004, p.26).
This becomes clear when Kunz explains how, "the interplay between form and counterform is the most fundamental aspect of typography" (Kunz, 2004, p.26).
When considering the partiality of letterforms, when half of the letterform is covered, the letter becomes ambiguous. The upper half of the letter is the more recognisable area, whilst the lower half carries secondary information to complete the letterform.
Another observation made from Kunz is that when asymmetric letterforms are halved, the right side varies more in optical information.
When used effectively, letterforms can be:
static
dynamic
plain
ornate
light
heavy
To be optically correct, letterforms with horizontal symmetry are smaller on top than on the bottom. When both halves are equal in weight, the letterforms can look unbalanced or crude.
Capital letters, numbers, lower case letters without ascenders or descenders have an even horizontal weight.
Letters with ascenders are top heavy whilst those with descenders are bottom heavy.
Another important aspect to consider is the counter form, which is just an important as the letterform.
The counterform is a new entity, the part of the background that emerges through interaction with the foreground.
"Reversed out of a black background, the counterform of a letter implies a third dimension" (Kunz, 2004, p.26).
This becomes clear when Kunz explains how, "the interplay between form and counterform is the most fundamental aspect of typography" (Kunz, 2004, p.26).
When considering the partiality of letterforms, when half of the letterform is covered, the letter becomes ambiguous. The upper half of the letter is the more recognisable area, whilst the lower half carries secondary information to complete the letterform.
Another observation made from Kunz is that when asymmetric letterforms are halved, the right side varies more in optical information.
These observations made by Kunz on the form of letterforms will become useful when using them to create 'sculpture'. It is important to note the significant qualities of letterforms so as to effectively manipulate them to create sculpture.
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