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Endpapers: The functional
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 The Elements of Graphic Design

Space, Unity, Page Architecture, and Type

/

Alex W. White

“Elegance is not the

abundance of simplicity.
It is the absence of
complexity.” Anonymous

NORTHFIELD PUBLIC LIBRARY

210 Washington Street
Northfield, MN 55057

NEW
al
ALLWORTH PRESS
YORK
 © 2011 by Alexander W. White
All rights reserved. Copyright under Berne Copyright
Convention, Universal Copyright Convention, and Pan-
American Copyright Convention. No part of this book
may be reproduced, stored in a retrieval system, or trans-
mitted in any form, or by any means, electronic, mechani-
This book is concerned cal, photocopying, recording, or otherwise, without prior
with what things look like, permission of the publisher.
but supposes that what Is
being said is worth the effort Lortab ald ear
teh 74 ||
of clarity.

Published by Allworth Press

An imprint of Allworth Communications
10 East 23rd Street, New York, NY 10010
Book design, composition, and typography by
Alexander W. White, New York, NY

Library of Congress Cataloging-in-Publication Data

White, Alex W.
The Elements of Graphic Design: Space, Unity, Page
Architecture, and Type/ Alex W. White - 2nd Edition
D2 “=cm:
Includes bibliographical references and index.
ISBN 978-1-58115-762-8 (pbk.)
1. Graphic design (Typography)
2. Layout (Printing)
3. Type and type-founding.
|. Title.
Z246.W56 2011
686.2'2--dc22
2010043571
Printed in Thailand
SS a A SP EN

The Elements of Graphic Design

Space, Unity, Page Architecture, and Type

/

Contents

Preface vi
Introduction 1

Sect 1 Space
Chap 1 Space is emptiness 17
Chap 2 Symmetry and asymmetry 39
Chap 3 The historical development of space: Five timelines 52

Sect 2 Unity
Chap 4 Unity and space 71
Chap 5 The seven design components 81
Chap 6 How to use the seven design components 97

Sect 3 Page Architecture

Chap 7 The page as visual structure 109
Chap 8 Connecting elements and pages 125
Chap 9 Three-dimensional space 137

Sect 4 Type
Chap 10 Listening to type 149
Chap 11 Typographic technicalities 161
Chap 12 Display type 177
Chap 13 Text type 189

Glossary 202
Bibliography 207
Designer's checklist 208
Index 210
Colophon 214

Contents v
 Preface
Most design education is concerned with combining and
sometimes inventing bits of content. It concerns relation-
ships of forms and almost always overlooks the critically
important part of the design that goes unnoticed: the

_ DESIGN
background spaces and shapes. It is a reflection of believ-
ing what /s is more important than what isn't.

REQUIRES
But emptiness, when treated as a full partner in de-
sign, becomes dynamic. It, along with an original visual

THAT NOTHING
idea, is what defines great design.
Dynamic white space plus abstraction, the process
of removing unnecessary details, are essential to sophisti-
_ BE ADDED cated design. Abstraction can be harmful, though, when
it obscures the message by removing necessary markers.

NOR TAKEN APTAY— Finding a balance of implicit meaning and clarity Is the
goal. Judgment in abstraction’s use Is essential - and is
== I I I I i z improved with practice and experience.
Unlike mathematics, where there can only be a

VITRUVIUS | single “right” answer, design has many alternate solu-

tions. It is up to the designer to find the best among

XCXX BC these. Design Is misused if it is merely an opportunity to

self-indulgently show off one's latest visual experiments.
Experimentation in service to the message, though, is
always a welcome approach.
On the other hand, monotony is not good design
Vitruvius foretold Step 3 on The lettering used here is either, even if the basic structure of that monotony is
the facing page. There is a adapted by the author from pretty. Why? Because sameness doesn't catch or hold
huge difference between lettering carved into the walls viewers. Good design balances deliberate consistency
nothing wrong and nothing at Ephesus, Turkey, circa the with flexibility so some of the goodies will stand out.
right about a design. Being Ist century AD. Designers serve their readers by revealing value, acceler-
able to identify what Is right ating learning, and making content stick.
about one’s work Is crucial to Design - whether graphic, industrial, interior, or
organizing material for clarity. architecture -is the process of taking unrelated parts
Merely having nothing wrong and putting them together into an organized unit. Each
is no assurance that a design discipline works with solids and voids, and each must
is successful in communicat- respond to three questions: What are the elements |
ing. There must be something have to work with? Where do these elements go? What
identifiably right in a design structure Is necessary so they go together?
for it to achieve elegance.
 Design is simpler when you remember it is a process,
not a result:
| Define the problem you have been given. This is
usually a redefinition because what you have been
WON BENGE Monoon given is an apparent problem. The redefinition must
home in on the real issues. If in this redefinition pro-
cess you don't become clearer about how to handle
Gener! the material, you haven't redefined the problem accu-
One definition of good design rately enough.
is the balance between the 2 Know the material. Digest it fully. At the very least,
designer's self-indulgence and read It.
monotony. 3 Distill the essential from the mass of confusing
muchness. Nothing may be missing, and nothing may
be extraneous. This is the definition of elegance.
Al Abstract the main point so its importance to the
reader Is clear and It is visually arresting. A message
that doesn't first stop readers won't be read.
5 Unify all elements so they don't outshout each other.
Shouting at readers doesn't provide a solution or an
explanation or an expression of importance to their
interests and needs. Clear, predigested content does.

This book is dedicated to the Thanks to:

memory of Clare, who, like C0 Tad Crawford, my publisher, who is committed to qual-
white space, was the glue ity and clarity. CJ Shea Connelly, my editor, who gently
that held everything together. saved me from embarrassing errors. [) Charla Honea,
She was some great lady. Her whose insight and advice helped immeasurably at this
legacy continues. book's earliest stages. (1 Clyde Hanks for his encourage-
ment at six thousand feet. D1 Isabela for making the office
a much nicer place each day. O Professor Larry Bakke
(1932-1990), a student's hero. FO Carl Dair (1912-1967),
a designer's hero. CJ Neil Bittner, a teacher's hero. O Stuart
Schar, a professor's hero. 0) Jan VW, die briders’ hero -
you can ask them.

HelWht
Alex W. White
Westport CT

Preface vii
1235. Dummies waiting to be unwrapped.
Photo by Herbert Migdoll.
 | “Perfect communication is see me and hear me. Radio to interpret the kind of person
person-to-person. You see me, is the next; you hear me, but Lam from what is on the
hear me, smell me, touch me. you don't see me. And then printed page. That's where
Television is the second form comes print. You can't see or typographic design comes in.”
of communication; you can hear me, so you must be able Aaron Burns (1922-1991)

Se
CERNE
Introduction A communicator's job 3
Adding value to a
message to make It
F othing puzzles me more than time become a “reader magnet."
and space; and yet nothing troubles
me less, as | never think about them. The mind searches for
Charles Lamb (1775-1834) meaning 7
Similarities and
To design means to plan. The process of design is used differences make a focal
to bring order from chaos and randomness. Order |s point visible.
good for readers, who can more easily make sense of
an organized message. An ordered message |s therefore Space attracts readers 11
considered good design. But looking through even a Space Is like air: It is
short stack of design annuals, you will see that what necessary for a design to
is judged "good" changes with time. It is apparent that breathe.
style and fashion are aspects of design that cannot be
ignored. Stephen A. Kliment, writing in an Architectural
Record magazine editorial, advises, "Do not confuse
style with fashion. Style is derived from the real needs
ofa client or of society. Fashion is a superficial condition
adopted by those anxious to appear elegant or sophisti-
Clarity and value to the reader cated.” Leslie Segal, writing in the introduction to Graphis
are what designers add to a Diagrams, says, "Elegance is the measure of the grace
message. These wrapped man- and simplicity of the design relative to the complexity
nequins are like messages that of its functions. For example, given two designs of equal
have not yet been revealed. simplicity, the one conveying more information is more

Introduction 1
Ellos dejaron de preocuparse por lo que les
decia la balanza, se aceptaron tal cual son y se
convirtieronen personas triunfadoras, en un
mundo que parece solo en los flacos
 When Christian WI MADSEN commutes corer meses meme

Longo asked
if Iwanted to
iGce)(emoiinam mercer
0 : a -
Xerox Publishing Standards \s a Visual stimulation draws viewers | Visual simplicity eliminates | Good design reduces naviga-
comprehensive four hundred into the page, arousing their unnecessary elements and tional effort, thereby encourag-
page reference on how to orga- curiosity. | dare any reader not | structures those that remain in ing readership. This Web site
nize, edit, and manage content to turn the page and give at a logical, consistent system, keeps things very simple, which
to ensure documents are useful, least the first paragraph of this | as in this magazine cover. is an accurate representation
read, and understood. story a chance. | of their brand experience.

The design process reveals elegant. Conversely, of two designs conveying the same
significance by sifting through information, the simpler is the more elegant. Inelegance
all the information to find that is a frequent design failing.”
which Is essential. This is done
in stages, first by removing the A communicator's
job
large chunks of less valuable Having material on the page read and absorbed Is
content, then looking through a visual communicator's chief responsibility. The Xerox
increasingly fine grades of in- Corporation completed a landmark corporate design
formation, even to the granular project by distributing their Xerox Publishing Standards
level, often expressed in subtle (page 11). In it, they describe their design rationale: “The “It is better to be good than to
typographic adjustments. principal goals of page layout are visual recognition be original.” Ludwig Mies
Having at last identified the and legibility. These goals are accomplished through van der Rohe (1886-1969)
essential, designers enhance consistent typography, effective use of white space and
its significance for their read- graphics, and controlled use of [lines]. .. A repeated
ers, as in this magazine story's visual logic guides the eye and helps the reader scan. A
opening spread. generous amount of white space Is reserved as a blank
presentation area, allowing headings to ‘pop out’ and
wide graphics to be extended.”
It is important to make the page look inviting - a
“reader magnet.” Visual stimulation draws viewers into
the page, arousing their curiosity and actively involving
them in the process of absorbing information. Visual sim-
plicity eliminates unnecessary elements and structures
those that remain in a logical, consistent system. Good
design reduces the effort of reading as much as possible,
thereby encouraging readership and understanding.

Introduction 3
 Correction.
As most of you know, one of our proudest boasts is the
fact (properly researched) that 3 out of 4 architects specify
California redwood for their own homes. Now, along comes
“Record Houses of 1967” with 4 out of 5 architects’ own
homes featuring redwood.

Our advertising people, unaccustomed as they are to under-

stating, explain it this way: When you have a concentration
of quality such as ‘‘Record Houses,” the ratio of redwood
inevitably increases.

For any information at all about redwood, write: California Redwood Association, 617 Montgomery St., San Francisco, CA. 94111.
 DEG one ee
TYP DIRECTORS CLUB PRESENTS —

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Toregisterplease emaildirector @ tde.ong orcall |-212-633-8543
sweSe LEMLATWITY
|PORTHPROMYEER.COM/TYPE | BEDIN BYKANCYRAKIM ROUEN / 48POMrYSERA | LOTTLARE138Proevins ovwasenice
Fees

What not to do with space shows the before and after of a This invitation is an example of Alejandro Paul's letterform
Society has not improved the site on Long Island, the earliest of intentional overfulness in designs, Its use of space is
landscape by overfllling it with example of tract development which there Is little room to equivalent to the housing
construction. Neither does a and the invention of suburbia, breathe. Though handsome development at the left.
designer improve a page by 1947-1951. and an excellent expression
overfilling it with content. This

Everything the designer does Readers respond to consistent page structure. The
should be calculated to help job is not to fill in all the space in order to impress the
a reluctant reader become reader with sheer quantity of information. That will just
effortlessly involved with the overwhelm the reader with overfullness.
text, which is where the story Imagine coffee being poured in a cup. If the cup Is
usually is. The visual simplicity, filled to the very top, it Is difficult to avoid spilling it on
vast area of empty space, and yourself as you take the first sip. By having too much of
an interesting if very short a good thing, we have created a problem - and quite
headline make us willing to likely a mess. This is exactly the same reaction readers
read at least the first sentence have to being given too much information at once. It is”
of the copy of this 1967 ad. perceived as a problem and their response Is to avoid It. .
Umberto Eco writes about too-muchness tn his descrip-
tion of William Randolph Hearst's castle in San Simeon,»
"The striking aspect of the whole is not the quantity of
antique pieces plundered from half of Europe, or the
nonchalance with which the artificial tissue seamlessly
connects fake and genuine, but rather the sense of full-
ness, the obsessive determination not to leave a single Signs of too much of agood @
space ... and hence the masterpiece of bricolage, haunted thing leave a mess and turn a
by horror vacui, that is here achieved. The insane abun- good thing, whether coffee or
dance makes the place unlivable ...” information, into a problem.

Again, the designer's job is not to fill in all the space. Avoid this by leaving a little
It is to make information accessible and appealing. The space at the top of the cup and
best use of the page's empty space Is to help make informa- on the page.
tion scannable, not to make the pages pretty. The point
is to increase the page's absorbability.

Introduction 5
 © Ls Thay.

Readers are looking for valu- Physical form conveys mean- | decision, which is the wonder- | Substituting form attracts at-
able bits among the muchness ing. Matching an element's ful and much-to-be-admired tention because It results in
of information, like sea glass form to its meaning helps | opposite of a random design unexpected contrast. A shirt
among the shells on the beach. reveal the message. And it is decision. made from bread? Makes sense
clearly a purposeful design | when the "Breakfast Collec-

tion” shirts are “bread colored.”

What makes this image star- The mind searches for meaning
tling is the juxtaposition of the As humans evolved, an important attribute we ac-
familiar with the unfamiliar. quired was the ability to see potential dangers around
There are many definitions of us, to see differences in our surroundings. Anything that
art, but the one that makes moved irregularly or was a different color or texture was
more sense than most Is Art Is worthy of our attention. After all, it might eat us. Notic-
making the familiar unfamiliar. ing differences became an evolutionary advantage for
By that standard, this Volks- humans. As a result, when we modern humans look at a
wagen Beetle has been made printed document or a monitor screen, our eyes instinc- “Art is not a mirror. Art is a

into art. Further, the definition tively and subconsciously look for similarities and differ- hammer.” SoHo graffito, NYC
of creative is “Characterized by ences among the elements. We search for the unique,
originality and expressiveness; which is determined by relative unusualness.
imaginative.” Perception slike looking forsea glass on a beach. We look
for clues that one particular spot or one sparkle Is valuable -
or more valuable than the stones and shells we also see.
The human brain sifts images and bits of type. It innately
simplifies and groups similar elements. If it cannot eas-
ily make these connections, It perceives confusion. The
majority of readers are disinclined to exert much effort
in digging out the meaning or importance of amessage.
They may be too busy or they may be uninterested in
the subject. Indeed, many readers subconsciously look
for reasons to stop reading. It's demanding hard work,
it takes concentration, and we're all a little lazy. As has
been said about advertising messages, “Tell me sweet,
tell me true, or else my dear, to hell with you.”

Introduction 7
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The stylized "Y" inside this company’s name, Suomi-Yhtid, Target, long known for sophisti- The places where type becomes
logo for a Finnish life insurance which AGE “Finland Group." | cated design, uses the absence image, Image becomes space,
provider is easily visible. But The company’s home page is of the promoted item to make and space becomes type are
it takes a moment longer to shown here as a sample of the | passersby notice their bill- | the most interesting and fruit-
recognize the “S" shape that logo's application. | board. They know emptiness ful areas for the designer.
represents the first half of the has value.

Making the content a reader Designing is the process of looking for and show-
magnet: the top layout is ing off the similarities and differences inherent in the
confusing because 1] three content of a visual message. This can sometimes take a
different typefaces - and their good deal of time if the similarities do not immediately
placement - do not connect present themselves. But the search for similarities Is at
thoughts; 2] there is a total the heart of what a designer does.
lack of alignment or connect- In addition to searching for similarities and differ-
edness between elements; and ences in our environment, we look for meaning in the
3] the empty space has been physical form of the things we see. The form of a thing
distributed evenly throughout tells us certain things about it. A couple of decades
the spread. The bottom exam- ago, Transformers® were introduced and quickly be-
ple is more appealing because came a best-selling toy. Their popularity was based on
there is now a primary image the idea that an object could be disguised as some- “The usefulness of a water
and typographic element. Also, thing it is not. Designers struggle to reveal the mean- pitcher dwells in the empti-
things align: connectedness ing of their messages by using type, imagery, and ness where water might be
has been created - things space. If used well, the meaning is illuminated and put, not in the form ofthe
touch - leading the reader from the process of communication is well served. If used pitcher or the material of
one element to the next. Also, poorly, the meaning Is confused by poor choices or Is sub- which it is made.” Lao-tse
a unique display font (textured sumed by the prettiness of the message's presentation. (604-5318c), Book of Tea
to relate to the details in the Successful designs describe the content fully and
pink fleece) has been used, the as simply as possible. This is the definition of elegance.
words have been placed in Ideally, the reader should be unaware of the act of read-
their natural order, and space ing, for reading Is then truly effortless. In design, more
has been carefully determined is not better. There must be an economy in using type
to separate without disconnect- and imagery, or marks of any kind. If it hasn't got a pur-
ing neighboring elements. pose that pushes the message forward (like decoration,

Introduction 9
74
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Sa
Overfilling a page is good only Each of the six pieces (plus Contrasts in addition to size
if it actually helps get the mes- | two rules) in this magazine include black and white color,
sage across, as shown here. “flag,” or logo for the cover, is roman and italic, baseline
Otherwise, an overfilled page | carefully sized and positioned alignment, caps and lower
repels readers. | to have its own integrity and _|_ case, and bold and light
to fit into the overall design. type weights.

Publications need structure perhaps?), it shouldn't be used. Despite the abundance Ordinarily, an LP record has
and flexibility. Structured of busy, overproduced design work we've seen in recent one long groove on each side
white space makes headings years, the excellence of a design Is, in fact, in direct pro- of the disc. Monty Python, the
stand out, helping readers portion to Its simplicity and clarity. British comedy troupe, released
quickly find what they need. a record in the 1970s that
These samples, from Xerox Space attracts readers was billed as a “three-sided,
Publishing Standards, show LP records have a narrow space of relatively empty two-sided record." Python put
a wide main column that fits vinyl between songs. The songs share similar texture the normal single groove on
text economically. The narrow. because the spiral groove in which the needle tracks Is one side and two concentric
er column creates headline vis. _ tightly spaced. The space between songs, by comparison, grooves on the other side, mak-

ibility and a specific place for is smooth vinyl interrupted by only a single groove for ing it a matter of chance be-
imagery. The basic page struc- the needle to follow. The visual dividers make it possible fore a listener
a
would happen to

ture allows great flexibility in to count the number of songs and estimate their relative put the needle down on one or
placing unusual combinations ength, serving as cues when we make recordings from the other groove. | distinctly re-

of materials while maintaining them. Digital media makes far more accurate informa- member the delight of hearing

enough consistent proportions tion available, but it can't be seen by the naked eye on something unexpected, having

to engender its own look and the disk itself. taken me several listenings be-

feel as a publication. The pauses between songs on a record show content fore their novel manipulation
the way white space does. Space attracts readers by was realized. Their gag worked
making the page look accessible, unthreatening, and because they reinvented the
manageable. Leaving too little white space makes a rules of LP recordings.
page look crowded - good only if that’s the point you
want to make. Leaving too much white space Is almost
impossible. | say “almost” because you will get groans of
disapproval if you toss around chunks of unused white
space, that is, emptiness purely for its own sake, rather

Introduction 11
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WE ARE ALL EQUAL REGARDLESS OF

RACE, COLOUR, SEX, RELIGION OR

IIlegibility results when an image Lack of color contrast adds to Overlapping display type over Flirting with illegibility is a
is put behind text. This neither legibility, with yellow on white type and over an image makes | powerful way to get attention,
enhances the value of the image the weakest contrast of all. This each individual element harder but knowing when the elabo-
(it is being covered up!), nor German ad for a ten-liter barrel to read but increases overall rate presentation overwhelms
makes the text easy to read of beer nevertheless uses yellow impact as a unified visual. the content is essential.
(with a changing background). lettering on white appropriately.

Use the paper's whiteness than for the sake of the message. Readers are far less
to attract readers. Does this likely to notice or object to too much white space than
much “emptiness” justify its to an unreadable, crowded page.
cost to the client? Yes, if the Readability is a term that refers to the adequacy of
emptiness communicates the an object to attract readers. It should not be confused
message, which it does in these with legibility, which describes the adequacy of an ob-
two examples (facing page). ject to be deciphered. Good readability makes the page
comfortable to read. Poor readability makes pages look
The space where a camera dull or busy. Richard Lewis, an annual reports expert,
would be held is more arresting says, “Make exciting design. Dullness and mediocrity
than a mundane shot of a are curses of the annual report. For every overdesigned,
camera being held. The camera unreadable report there are a hundred undistinguished
(albeit not in proportional size) ones that just plod along.” Regarding legibility, Lewis “What you see depends to a
is then placed horizontally says, "Designers who play with type until they have great extent on what you ex-

across the spread from the rendered it unreadable are engaged in a destructive act pect to see, what you are used
space, creating a visual link that hurts us all. Hard-to-read [design] Is useless.” Make to seeing.” Sir Jonathan Miller
between the two images. unnecessary demands on your readers with great care (1934- ), public intellectual
and only when you are sure the extra effort they are be-
ing asked to make will quickly become evident to them.
Considered use of white space shows off the subject.
Go through the pages of any newspaper and you will find
wall-to-wall ads of even grayness, occasionally punctu-
ated by darker areas of bold type. Few ads utilize the
whiteness of the paper to attract attention. Using the
whiteness of the paper is an especially good approach
if the paper's whiteness expresses the idea ofthe ad.

Introduction 13
“The question Is, ‘What's the
mill?’ Not, ‘What's the grist?’”
Phillip Glass (1937- )
» Framing and framal reference 25
Space must look deliberately used 27

2, Symmetry and asymmetry 39

Space is a shape 39
| ‘Symmetry: space Is passive 41
. Asymmetry: space is active 43
Time and motion 47
Representational and symbolic space 49

_Six timelines 52
*” Space 52
‘Letterforms and typefaces 58
“Logos 60
>» Posters 62
‘Magazines 64
° Web sites 66
We asked some local crevasse jumpers for their advice. They told us to get out now, immediat
The power of nature's empti- The Grand Canyon’s drama Is that has become the Grand
/

ness creates drama as in the also caused by what is missing. | Canyon might just be another
granite rock that is absent in Had the Colorado River not | area of relatively flat, uninter-
this Swiss valley. carved out the land, the surface | rupted plains.

Graphic design and architec-

Space 1S eCptiness The figure/ground
ture have much in common. relationship 19
Symmetry, whether in two or The most basic relation-
three dimensions, is shown 2 fillup a place, which may be better... when |
am ship of all. One indication
in this magazine spread and Eg have made it empty. - William Shakespeare of superior design Is
an early 19th century New F (1564-1616), As You Like It active ground.
England home. Architecture
is defined as, “The art and sci- Emptiness is an essential aspect of life. It is the un- Framing and framal
ence of designing and erecting avoidable opposite of fullness, of busyness, of activity. reference 25
buildings.” The definition of It is the natural and universally present background to The boundary of a design
design is simply “to plan." everything we see. Emptiness is silence, an open field, a encloses space.
barren room, a blank canvas, an empty page. Emptiness
is often taken for granted and thought best used by Space must look
filling in. It is generally ignored by all but the few who deliberately used 27
consciously manipulate it to establish contrast, to create Emptiness for its own sake
drama, or to provide a place of actual or visual rest. It is wasteful: It is a tool to
is best used as counterpoint to filled-in space. Compos- be used intentionally.
ers and architects use it. Painters, photographers, and
sculptors use It. And designers use It.
The most important step toward sensitizing yourself
to using space is first seeing it. Gregg Berryman writes
in his Notes on Graphic Design and Visual Communica-
tion, "Everyone ‘looks’ at things but very few people ‘see
'

effectively. Designers must be able to see. Seeing means

a trained super-awareness of visual codes like shape,
color, texture, pattern, and contrast. These codes make
 Na we cas ~: pas

“Space is a human need." Ken tryside was developed, GOS} The universe was entirely “empty space" is being given
Hiebert (1930- ). New York and as it appears today, a vital empty before the Big Bang. Its very careful consideration: it
City's Central Park, shown sanctuary surrounded by an size Is now measured by the may be equally filled with mat-
before the surrounding coun- intense city. area occupied by galaxies, and | ter that we can't yet measure.
what has been thought of as

White space is a raw ingredi- a language ofvision, much as words are building blocks
ent. Here it is, just as the paper for verbal language." Being trained to see more critically
manufacturer made it. But is best guided by a teacher, but such training relies on
please don't think of it as emp- exposure to excellent art and design samples.
tiness waiting to be filled in.
Filling in emptiness is not what The figure/ground relationship
designers do: using emptiness The single most overlooked element in visual design
is. This space has been used is emptiness. The lack of attention it receives explains
by pushing the aggressively the abundance of ugly and unread design. (Ugly and
horizontal image into it. unread describe two separate functions of design which
occasionally occur at the same time. Ugly refers to an
object's aesthetic qualities, an evaluation of whether Even ordinary objects in space
we like the object. Unread is infinitely more important, can draw attention when the
because an unread design is an utter failure. A printed relationship is imbalanced.
document, regardless of its purpose or attributes, is never Here, the object Is severely
intended to be ignored.) cropped and placed in a
Design elements are a/ways viewed in relation to disproportionate amount of
their surroundings. Emptiness in two-dimensional design emptiness. The central axis is
is called white space and lies behind the type and imag- enhanced by a flush left place-
ery. But it is more than just the background of a design, ment of a narrow type column.
for if a design's background alone were properly con-
structed, the overall design would immediately double
in clarity and usefulness. Thus, when it is used intrigu-
ingly, white space becomes foreground. The emptiness
becomes a positive shape and the positive and negative
areas become intricately linked.
This area of identical lines and tion than the other; they are in of solid black. By eliminating American prisoners were once
identical spaces produces a harmony. Jamming the black a single black line, the white dressed in black and white
gray value. Neither figure nor lines together by removing the space becomes dominant and | striped clothes so they would
ground demands more atten- white spaces creates an area iS activated. | be easily identified in case of a
| breakout. From a distance, this
| presumably looked like gray.

Total lack of controlled white In an area of identical lines (above), we see a field of
space produces visual noise. gray because the lines and their background are in har- Il
This is a section of a printer's mony. In order to create a gray field, the white and black
make-ready sheet found areas are equally essential. If we eliminate a single black
separating Italian postcards. line, the white space becomes activated. This white line is
Though possessing a certain an anomaly and appears to be in front of the gray field.
charm, it is an example of ac White space (named for white paper, the typical
cidental design. background material of its day, but white space needn't
be white: it is the background, regardless of color) has
various other names. Among them are “negative space,"
which is a fully interchangeable term; “trapped space,"
which refers to space surrounded by other elements; | _il
“counterform,’ referring to spaces within letters; “working The direction and thickness of

white,” emptiness that serves a purpose and forms an a line are its most important
integral part of a design; and “leftover space,” which Is characteristics. Here, direction

emptiness that still has unrealized potential. is contrasted while thickness is

Total lack of managed white space results in a visu- kept constant in this 2001

Space is defined when some- ally noisy, or cacophonous, design. This can be a desir- poster titled Pedestrians in the

thing is placed in it. The able solution under a few certain circumstances, if for City by Gérard Paris-Clavel.
ocean's vastness looks even example, the subject being discussed is audio or video
bigger when a small island is interference, or a visual translation of anxiety, or read-
in the distance. ing conditions on a jolting train, or eldetic (vivid ortotal
recall) imagery. Some designers use computer-inspired
cacophonous styling in what they think is fashionable ex-
perimentation, regardless of content and appropriateness.
The results have been unreadable, confusing, and ugly.
 The figu
round are

the letters@S,

Cournenve
aed
Figure/ground relationship | these freshman studies uses negative space as a full part- | The unity of opposites is ex-
studies explore the fundamen- a single letterform. Glyph ner in each design. We must pressed in the Chinese symbol
tal design relationship of black abstraction Is one of the goals be drawn to the white shapes | of yin/yang @ in which white
and white shapes. Each of of this exercise and success |s as much as to the black shapes. and black mutually depend on
dependent on activating the each other. This is an interpre-
| tation by Shigeo Fukuda.

Stable figure/ground relation- Space is undefined until it is articulated by the place-

ship (top row, I-r): Centering a ment of an object within it. Until a design element - a
figure neutralizes space; placing small square ll, for example - is placed in a framal refer-
the figure off-center activates ence @ |, little about the space can be determined.
space; and bleeding the figure Graphic emptiness can be made to look vast and
makes a composition dynamic. unending or It can be manipulated to look finite and
Reversible figure/ground rela- segmented. Placing an object in space creates a figure/
tionship (second row, I-r): a tiny ground relationship. When a single element is placed in
figure in space is seen to be a space, It may be difficult to tell whether the element is “The reality of a room is to be
“in front"; a huge figure crowd- big or small, high or low, or near or far. It is merely float- found in the vacant space
ing in a small space Is still “in ing in space. The perimeter of the space, whether defined enclosed by the roof and
front": the figure and space are by a box or by the edge of the page, helps describe the walls, not in the ceiling and
in equilibrium, neither ts “in front.” element's position in it. walls [themselves].” Lao-tse
Ambiguous figure/ground There are three types of figure/ground relationships: (604-5318c), Book of Tea
relationship (third row): crop- @ Stable figure/ground: Forms are seen in an unchang-
ping the black and white shapes ing relationship of having been placed in front of their
so both are interesting requires background. Ordinarily, either the figure or the ground
abstraction. dominates a design. The figure dominates if it is too
large for the space or if conscious shaping of the white
The figure is land (bottom row) space has been neglected. The white space dominates If
in the map of Paris streets; the the figure is very small or if the space’s shape Is consider-
figure is the river in the map of ably more interesting. Balancing the sizes and shapes
Parisian bridges. Breugel the of the figure and ground activates both and makes it
Elder painted ambiguous difficult to tell which is “in front" of the other, creating
ground, as in this detail from his a unified design.
1562 The Fall of Rebel Angels. M@ Reversible figure/ground: Figure and ground can be
 thereout fun Have
Cherokee,
Grand moreThe
there. from snowballed
it
and doors added
we First

= byINNO™
O| KC{XtC!0| AlQtoh= C[ApOl PJIZE BAM
Jch
HOUSE & GARDEN
Full-bleed photos, images that A full-bleed photo's strength Think of a photo on a page as | photos is equivalent to a peek
,

touch the edge of the page on is its ability to overwhelm the a window into another space. into a gallery of images whose
all four sides, are examples of reader with a sense of actual- In a way, the reader looks | number and scale elicits emo-
intentional lack of context. ity: the image Is so big that it through the page at the scene tional connection.
can't be contained by the page. | beyond. A full-bleed wall of

Ambiguous white space can seen equally. The figure and ground interpenetrate. A bal-
be seen in the House & Garden anced figure/ground relationship creates tension where
poster (opposite top). Is the one threatens to overwhelm the other. This describes a
black a background to the dynamic design. It is even possible to create an element
images of the sky, or Is it a that so extremely dominates its space that It propels
darkened interior wall in front itself into the background.
of the windowed sky? Indeed, @ Ambiguous figure/ground: Elements may be in both
which matters more, the real- foreground and background simultaneously. White space
ity of how this image came to doesn't literally have to be white. It can be black or any
be, or the reader's perception other color. It just has to take the role of emptiness; we
of the photo's emptiness? see It subconsciously as background.
Another way of programming
Space can be “turned on its ear” Framing and framal reference the context of a design Is to
by using a magazine's binding White space is the context, or physical environment, fill the space with a full-bleed
as a reference point. in which a message or form is perceived. As we have typographic treatment. A
already seen, two-dimensional space Is a plastic environ- headline sized large enough
Space that exists behind the ment that can be manipulated. Just as music exists in to fill a page will certainly
horizontal band of this full- and measures time, music also exists in and describes have immediacy. It Is an easy,
page ad "leaks" into the shop- three-dimensional space. Music played in a cathedral tempting approach for many
ping bag in the lower right and sounds quite different when played in a small night situations that require extreme

from there leaks further into club. Composers and musicians consider space when visibility. However, unless the

the bag next to It. Notice the they write and perform music. Frank Zappa, on how the meaning of the headline is
placement of the front bag so environment affects his performances, said, “There's got best expressed by wall-to-wall

it covers half the letters, defin- to be enough space [between notes] so the sound will type, this approach Is only

ing the front edge and leaving work. ... Music doesn't happen on paper, and it doesn't graphic exploitation and

the back letters legible. work in a vacuum. It works In air. You hear it because air should be resisted.

1225
BIGTEN
BIGTEN
Negative space Is positive in Very dark space blends into Leo Lionni’s 1960 Fortune The positive and negative have
this redesign for an athletic and merges into the figure in | magazine cover makes the been equally attended to - the
league (top) that admitted an this Self Portrait at the Age | background visible by deleting white shapes are every bit as
eleventh member. of 63 (1669), one ofthe last | "missing" letters. The shifting interesting as the black - in
paintings by Rembrandt van | colors and empty spaces add a Armin Hofmann's 1962 poster
Rijn, who died that same year. vibrancy to the pattern. for Herman Miller.

Is this “wasted space” (opposite, molecules are doing something ...to your eardrums. You're
top)? Siena's magnificent piazza talking about sculptured air. Patterns are formed in the
is the community's gathering airwaves ...and your ear is detecting those patterns.”
place. Four hundred years after In design, spatial context is bounded by the framal
its construction, It remains the reference, the physical perimeter of the page or a drawn
city's focal point. border. Spatial context is different from ground because
context does not imply a front/back relationship. Con-
Is this vital space (opposite, text is the implied edge ofthe live area. The terms can
bottom)? This aerial photo be confusing because a perimeter may at times suggest “| never really felt comfortable
shows Siena’s narrow streets a front/back relationship. Spatial context and figure/ as a Futurist... In fact, | rarely
spreading out from the piazza. ground exist at the same time. They are not exclusive ever put type or image on
The highlighted area shows of one another. angles unless there was a good
the site where the top photo reason to do it. My ultimate
was taken. Space must look deliberately used design influence is the Bauhaus,

“One of the highest delights of the human mind,” wrote although I've never been
architect Le Corbusier (Charles-Edouard Jeanneret: 1887- directly connected with them.”
1965), “is to perceive the order of nature and to measure Leo Lionni (1910-1999), art
its own participation in the scheme of things; the work director, author, and illustrator

of art seems to be a labor of putting into order, a master-

piece of human order.” Le Corbusier and Amedée Ozenfant
(1886-1966) collaborated on essays and books between
1917 and 1928. Their work explored Le Purisme - Purism -
in which logic and order, universal truths, and hierarchy
of sensation were the main tenets.
It must be evident to the viewer that a design's mate-
rial has been predigested and presented in an organized
vada
seid
atiiiae
Designate elements that will
A
Shriek
break into emptiness at least
once or else the emptiness will
look like “wasted space” (facing

_in the
snugaery
page,
top row). The first example
is chock-a-block full and looks
like a chore to read. The second
merely has empty space, which, Deliberate use of white space An abundance of white space, Little white space remains,
,
othough wasted, Is still better for creates negative and positive visible in overwhelming dispro- shoved to the perimeters and
he reader than filling the page
eons
shapes that are equally im- portion to the size and amount beyond, outside the framal
with text. The last study uses portant. This artwork is in the of type, is used to express reference, as an expression of
the space to show off elements |floor at the Cathedral of Siena. vastness. silence-filling volume.
that are different in meaning
or emphasis. Though they may
be small, elements put in empti- way. In short, it must be clear that a set of design rules
ness become visible and attract has been created and consistently applied. The rules
attention. This comparison must be clear in both the use of white space and in the
shows the difference between placement of elements in the white space. The use of
having white space and using too little white space results in an over-full page. On
white space. As a parallel, the other hand, the use of too much white space makes
having money may be nice, but a page or spread look incomplete, as if elements have
using money gets things done. slid off the page.
It is possible to dress up a page with white space, “White space is the lungs of
The same amount of white space to inappropriately spread it around to look, at first blush, the layout. It's not there for
is used in these two examples like it is judiciously used. But this is wrong on two counts: aesthetic reasons, It's there
(facing page, second row). The it fools the reader into false expectations, and it exposes for physical reasons.” Derek
first layout suffers from empti- the designer to arguments about “artistic expression” Birdsall (1934- )
ness dispersion. The second with clients and bosses. Visual communication relies on
layout has grouped the empti- creating a connection with the reader. The connection
ness into significant chunks always starts weakly because the reader has no commit-
at the top and margins. It has ment to the message. Manipulating a reader with useless
a distinct shape and joins its white space - or any other misused element - deeply
facing pages into a single hori- undermines the message's credibility the moment the
zontal spread. reader becomes aware ofthe tactic. On the second point,
designers wish to avoid confrontational discussions
Spreads of text and space are about artistic expression whenever possible. As service
intermingled with spreads of providers hired to solve others’ problems, the designer
full bleed imagery (facing page, usually loses these disagreements. The solution?To make
bottom), making emptiness design decisions that are defendable and logically ex-
look intentionally used. plainable as solutions to real problems. Using emptiness

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A bloodied windshield de- blank paper. This “non-existent” | Expressive use of space de-
,

scribes a “delightfully violent raw material is available to scribes the roominess inside
driving game,” but it is actually be exploited in every design, a vehicle, exaggerating it by
a brilliantly utilized area of whether paper or screen based. | likening it to a house.

Giovanni Battista Piranesi is part ofa valid and logical solution to design problems.
(1720-1778) was an Italian Unlike images and words, which come with their own
artist and printmaker. Trained obvious reasons for being included in a design, emptiness
as an architect, his works is more subtle. It is within the designer's responsibility
depicted views of Rome and to look for and take advantage of emptiness on each de-
grand buildings and, famously, sign assignment and be able to explain and justify it.
“Carceri d'invenzione," a series Expressive use of white space requires an asym-
of imaginary prisons. In the metrical design. Centering an element kills white space
series of sixteen works, Pira- because the figure's position, its centeredness, has “The closer you look at some-
nesi distorted space, treating eclipsed the need for interestingly shaped negative thing, the more complex it
foreground and background space. Placing the figure off to one side - even bleeding seems to be.” Vint Cerf,

whimsically in studies of gigan- off an edge - activates the white space, especially if the (1943- ), co-creator of the
tic vaulted spaces that lead to emptiness Is in large chunks. A truism in design is that if Internet

and from nowhere. you arrange the white space well, the elements on the
page will look great, but if you arrange only the posi-
tive elements on the page, the white space will almost
inevitably be ineffective.
Seeing the potential of emptiness requires a shift in
thinking that is equivalent to doctors preserving health
instead ofjust curing diseases. The medical community
has come to the realization that nurturing patients’
wellness in addition to treating their illnesses is good
practice. This is a historical shift in medical thinking.
Peter Stark wrote an excellent description of an
equivalent way of seeing in an extreme-skiier profile in
Outside magazine: "Standing on Mount Hood, | looked
 nh
fi

SZ
wh =
—) j
“
os

Ronald Searle, the British Franz Kline's 1961 Slate Cross | Edward Wadsworth's /n Drydock You first see the “at” sign at
cartoonist, reveals a distorted is a composition that relies on isa 1918 study of figure/ the center of this spiral. After
sense of three-dimensional white and black equally. Kline's | ground relationship in magnifi- half a moment, you see the ser-
space to illustrate the futility of many preliminary studies en- cent harmony. His contrasts pent and its egg in this 2002
at least some moments of life. sured spontaneous craft with | of line weight make this a par- poster by Ken-Tsai Lee. Neither
preplanned composition. | ticularly attractive example. can exist without the other.

Stores that want to nurture an down at a very steep snowfield dotted with jagged rock
image of quality have an open piles. As | tried to figure out whether my trajectory, if
floor plan and an uncrowded | fell, would take me into the rocks, Coombs took off
look. Stores that project a skiing down the pitch. ‘Don't rocks bother him?’ | asked
bargain image overwhelm with Gladstone. ‘That's the difference with Doug,’ she replied.
“muchness.” ‘Where you and | see rocks, he sees patches of snow and
the chance to turn."
Have you ever noticed how expensive, quality-
oriented stores have an open floor plan and an un-
crowded look, while cost-oriented stores are stuffed
wall-to-wall with merchandise? In the former, you rarely
see more than three of anything because it signals rar-
ity. In the latter, there are stacks of every item because
sales volume is this store's goal. If this comparison were Outlines emphasize shapes
made on a scale of loudness, the quality store would be and force space into the back-
a conversation and the low-cost store would be a pass- ground. The same artwork can
ing fire truck with sirens in full throat and lights ablaze. be described using figure and
Applied to two-dimensional space, this disparity is ground, abstracting the con-
expressed by Ken Hiebert, a design professor with whom tent and making it look more
| studied one summer in the 1970s: “It is common to use “filtered” by a designer.
space as a kind of luxury, projecting generosity or classic
simplicity - a formula for ‘class.’ But if space is used
only as a formula or device, it is also readily suspect as
being either wasteful, arrogant, or elitist. Yet space Is a
human need, and the experience ofspace Is typically an
exhilarating one.”

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Mail-order catalogues’ design fully spaced communicates and “not precious” while Organized fullness uses space
/

reveals the character and “bargain” versus “quality” or sophisticated typographic con- | arranged into a quadrant, with
nature of the products being “value.” Typefaces also contrib- trasts frame the imagery with each area containing material
sold: jam-packed versus care- ute to the message: pseudo organization. in a two-axis chart of sophisti-
handlettered type says “rough” cation and taste.

Some artwork Is recognizeable Mail-order catalogues each have their own identity.
for its extraordinary fullness in Some have a literary inclination, running feature articles
which every millimeter is used. and blurring the line with magazines by creating a new
Australian aboriginal works hybrid, the “catazine" or "magalogue." Some create an
can certainly be described this artistic appearance, leaving a lot of space unoccupied,
way, especially in works since speaking intelligently, suggesting to the reader that the
the 1970s, when a dotting merchandise is of equally high quality. Some shove as
motif emerged in the Papunya many products and descriptions as possible onto each
Central Desert region. Dotting page, filling in every pica, and know there is an audience “(White space is like) the
was developed as a way to for such slow-speed junk wading. As Chuck Donald, the calm just before an ice skater
disguise cultural symbolism design editor of Before & After magazine, wrote, “Lack begins a routine: it sets into
and hiding sacred messages in of white space Is as tiresome as the party blabbermouth. perfect contrast the grace-
plain view. This example, [On the other hand,] margins and white space beckon ful animation that follows.”
Possum Dreaming, \s by Tim the reader in." Anonymous

Leura Tjapaltjarri from the Companies that buy large advertising spaces, in
Madjura/Walbni Tribe. newspapers, for example, communicate a certain level
of success. Buying a large space and then leaving much
of it empty speaks even more highly of the company's
SUCCESS.
The usefulness of adocument is paramount in “way-
finding,” a design approach that acknowledges the ways
people navigate through information. Wayfinding puts
somewhat less attention on aesthetic ends. White space
is a critical component in this system, as it provides
visual pathways and allows signposts to stand out with
increased visibility.

igs
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graphisches kabinett miinchen

briennerstrasse 10 Jleitung guenther franke

ausstellung der sammiung jan tschichold

plakate der avantgarde

arp baumeister bayer burchartz cassandre cyliax dexel lissitzky moholy-nagy

moizahn schawinsky schlemmer schuitema sutnar trump tschichold zwart und andere

a oR ae rg ee A Se a)

24. januar bis 10.februar 1930 geéffnet 9-6, sonntags 10-1

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ee S margins are wider Traditional book margin propor. | How to construct a Golden | horizontal lines and draw a ver-
4

on the outside, leaving room tions are two units on the Rectangle: draw a square; tical where the arc intersects

for readers to make notes (or inside; three units at the head: divide the square in half: use the baseline. The area of the

doodles), as in this 1487 New four units on the outside; and the midpoint as the base of square plus the added rect-
Testament, printed by Anton five units at the foot, leaving a radius that extends to the angle is a Golden Rectangle.
Koberger in Nuremberg. flexibility for the page's size. baseline; extend the square’s

The samples on the facing One of the oldest examples of exploitation of empti-
page are before and after ness for utilitarian use is the scholar’s margin, a wider
examples: the top illustration outside margin reserved for note taking. It also makes
isa 232" x 16/2" poster facing pages look more connected because the text
designed by Jan Tschichold in blocks are nearer to each other than they are to the
1930. Tschichold was one of page's perimeters.
the earliest practitioners of the Organizing two-dimensional space has been a con-
then-revolutionary asymmetri- cern of scribes and bookmakers since about ap 500 (the
cal style that he described fall of Rome and the beginning of the early Middle Ages)
in his 1928 book, Die Neue when monks elevated their work with ornamental initials.
Typographie. The content has Scribes of the late Middle Ages, beginning in about ap
been refitted to a symmetrical 1100 and lasting until the advent of the Renaissance In
format (bottom) to show how the 15th century, realized the proportional perfection These figure/ground reversals

white space added quality to of the page by following the lead of Phidias in ancient show the arrangement of the

the original design. Notice Greece who designed the Parthenon in a mathemati- spaces in Tschichold's origl-

how much more expressive the cally harmonius ratio. Called by Euclid (c325-c365 8c) nal poster and the centered

information hierarchy 1s when the “extreme and mean ratio," and by Luca Pacioli, in iteration on the facing page.

type size is reinforced by intel- 1509, the “Divine Proportion," the Golden Rectangle - Remember: the content is iden-

ligent grouping and position- as it is called in geometry - is the finest proportion ever tical in both versions. The only

ing. This idea was the heart of developed. According to Jan Tschichold, “Many books thing that differs is the way

Tschichold’s philosophy. produced between 1550 and 1770 show these propor- the negative space has been

tions exactly, to within halfa millimeter.” Mathematically, distributed.

the Golden Ratio is simply a is to b as b Is to a plus b.

The figure /s the ground in this You will likely see the white NV These maps, showing the world | Space is a shape in these four
1934 advertisement designed shape first in this "SCC" COrpo- from a Euro-centric point of logos: interlocking fingers; the
by Leo Lionni. Ambiguity rate mark. Concentrate on the view, emphasize the shapes of state of Texas; the Dove of
results when shapes can be black shapes and you will see land, sea, and the outlines of Peace; and a guitar neck
either figure or ground. an S and two Cs, one of which | land and sea. between longneck beer bottles.
is flopped and looks like a D.

M.C. Escher was a master at

Symmetry ane! Space is a shape 39
creating active white space Shapes are defined by their
(facing page). His ingenuity
ASVMIMACrYy perimeters and emptiness
is represented by this fish-to- =he first and wisest of them all professed has a perimeter.
birds metamorphosis, here to know this only, that he nothing knew.
printed on a necktie. A modern — -John Milton (1608-1674) Symmetry: space is
interpretation is used for a passive 41
New York City classical music Balance Is an important aspect of visual communica- Space in a symmetrical
radio station. tion. There are two kinds of balance: symmetrical and design 1s background.
asymmetrical. Symmetrical balance centers on a verti-
cal axis. Asymmetrical balance does not look the same Asymmetry: space is
on both sides, but the dissimilar halves are in a state active 43
of equal tension, or “balanced asymmetry.” Symmetry Space in an asymmetrical
is balance through similarity; asymmetry is balance design Is or can be in the
through contrast. foreground. It is equal to
figures in importance.
Space is a shape
Design Is the arrangement of shapes. All design Time and motion 47
elements have a shape, which Is an area defined by a Time Is the fourth
Reversing the land and water perimeter. The perimeter may be a line, a value change, dimension. Motion takes
masses in this map (facing like solid black next to 50 percent black screen tint, or place over time.
page, top) fools the eye for a a color change, like blue next to green.
moment. Then we recognize It is vital for a designer to learn to see each element Representational and
the familiar negative shapes as a shape as well as a signifier of meaning, for it is those symbolic space 49
and the map makes sense. shapes that are managed in a design, and it is those Space can illustrate ideas.
shapes that are perceived by the viewer. Learning to see
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There are three types of sym- rotational symmetry, in which across the space. Wallpaper, Figure and ground are ambigu-
metry. The most common is the elements radiate from or which uses an even, repeated ous in this logo designed by
bilateral symmetry, in which rotate around a central point. pattern, is intended to become Herb Lubalin for the Finch-
the left and right sides are The third is crystallographic or background, and thus uses the Pruyn paper company. The P
approximate mirror images of “all over" symmetry, in which el- most passive, invisible design | can only be seen by recognizing
each other. Another is radial or ements are evenly distributed possible. | the white shape within the F.

Symmetry does not need to be each element as a shape takes time and effort. Sensitiv-
This is passive space
precisely the same on both ity to seeing shapes revolutionizes a person's ability to ‘Ajhg kjngj bg} Ngjhjhg xdigdtg fgh dighdfg dtgnm dn dig. Ohd sf sigdxfgn dh)
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sides, though that is the strict- design. Seeing emptiness as a shape is the most potent Hty birdt hd ryhedeth erty hehér. Sehai hgjh jhg xdifgdta tn dig. R
perthor. Ajhg hgj fgeh dhn dfg. Ohb rhe drath sf sfighxy fogan dehj tyuiol hu.
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est defintion of the term. In aspect of this revolution.

practical terms, symmetry White space is like digital data: It is either “on” or “off.” This is
active space
means mostly or essentially or If it is “on,” It is active, that Is, its shape is of approximately ‘Ning kihgi ng) hgihihg xdlgdt toh dighdtg dtgnm ohn dg. Ohb st sHgbxign
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equal importance as the positive shapes (that's good). If

id ryt orth eraty. Ajg kigj ha) jhiha xdigdtg tgh dfgadta. Ond sf sfgiero
that which is perceived to be ery dy ity jf6. Hty hirdt hd ryhedrfh erty hehdr. Sehg) hgjh
{n df. Reh drfih erdty perthor. Aiba hg) (geh dha dfg. Ohb che érath sf
sfigbxy fogan ae dehj tyu io! hu. Ajg big) ha) hh dstq xdfgdtg tgh at gad.
the same on both sides. Put the white space Is “off,” Its shape Is essentially a result
another way, symmetry can be of chance, the byproduct resulting from the placement Passive white space Is static.
defined as being the absence of positive elements (not nearly as good). Leftover white It looks motionless and “left
of asymmetry, as this statue Space Is rarely as interesting as positive space. over.” It isn't used to guide or
of La Résistance de 1814 at draw the reader into the de-
the Arc de Triomphe in Paris Symmetry: space is passive sign. Passive white space is the
illustrates. Symmetry is the centered placement of elements in chief offender in making docu-
space. Symmetry, requiring a central vertical axis, forces ments ugly, if, indeed, they are

Centered elements create white space to the perimeter of the design. White space noticed atall.

passive white space (top), in a symmetrical design Is passive because It Is not

while asymmetrically- integral to our perception of the positive elements. If it
positioned elements create is noticed at all, it is seen only as inactive background.
activated, dynamic space Symmetry is a predictable arrangement that implies order
(bottom). and balance. It suggests peacefulness and stability.
Passive white space shows up at the perimeter of
pages as unused and unbroken-into margins. Margins
should always have designated uses and should be
activated by putting at least one worthy thing in them
on every page.

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ON CENTERED and passive space
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When setting centered type, Activate passive white space | technique for making the im- Asymmetry requires a different
,

each line should be shorter by carving part of an image age appear more real than a | way of thinking. Paul Simon
than the previous, to make the out of its background and | square halftone. In life, objects says he wrote “asymmetrical
task of reading seem progres- bump that into the space. This | overlap and touch the things | songs” to fit around Brazilian
sively easier. is known as a partial silhouette. behind them, and a partial sil- | drum riffs for his The Rhythm
Partial silhouetting is a useful houette suggests overlapping. | of the Saints recording.

Margins should be used to Symmetrical design Is attractive and relatively easy

show off important elements. to create. It is best executed in an inverted pyramid
Margins’ passive white space shape because the cone shape inexorably leads the
(facing page, top left) enlivens reader to the next level of information. The widest line
the page by being activated should be at or near the top, and the shortest line should
(facing page, top right). be at or near the bottom.

Asymmetry: space is active

Asymmetry, which means “not symmetry,” suggests
motion and activity. It is the creation of order and bal-
ance between unlike or unequal elements. Having no
predictable pattern, asymmetry is dynamic. White space “Symmetry is static, that is

in an asymmetrical design is necessarily active, because to say quiet; that is to say,

it is integral to our perception of the positive elements. inconspicuous.” William Addi-
Therefore, the deliberate use of white space Is necessary son Dwiggins (1880-1956)
for successful asymmetrical design.
Active white space is carefully considered emptiness.
Asymmetry requires the use of Its shape has been planned. Active white space is the
unequal shapes and uneven primary attribute of documents that are perceived as
spaces, as shown in these pairs well-designed and having inborn quality. Any empty
of stock certificates (above) and shape that has been consciously created Is active space.
paper moneys. The asymmetri- A truism in design is that if you arrange the white space
cal paper money (facing page) well, the elements on the page will look great, but if
is off center in part to make you arrange only the positive elements on the page, the
space for security watermarks. white space will almost necessarily be ineffective.
Another way of activating white space is by integrat-

2 43
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Which bug is too easy to recog- White space Is activated by it activates its surrounding | perception of negative space
,

nize? Closure requires tension its relative size and proportion white space by becoming more | and promote the active search
between the visible and the to the figures in it. As a figure abstract and achieving a bal- | for meaning by abstracting the
implied, or not visible. Show- gets bigger in a given space, ance with it. You can force the figure.
ing too much reduces visual
impact.

ing it into the positive elements of design through closure.

Se Se
ae ow Xa SAN Closure is a spontaneous human behavior in which the
j brain completes an unfinished or unconnected shape. It is
HK > 4We © 2 48
Fe a Ce an effective technique because it requires the viewer's inti-
vi neelld ws ffs mate involvement in completing the message. The key to
eee Kee q
re: oe RFD 3s making closure successful is to adjust the spaces between
"Closure" requires active partici- forms carefully. If there is too much space between forms,
pation bythe viewertocomplete the brain will not recognize their relatedness. If there Is
the image. Closure succeeds too little space between forms, the reader need not add
with careful manipulation of anything to see the completed shape.
the spaces between elements. Asymmetrical design doesn't guarantee a dynamic,
When do each of these squares lively design. But the structure Is more flexible and
and images achieve tension? allows greater freedom of expression to reveal the rela-
tive importances of the content. Like other freedoms,
The Princes in the Tower (1831) symmetrical design offers great reward but requires
by Paul Delaroche (facing page, discipline, understanding, and sensitivity from the artist. “Unsymmetrical arrangements
top) is a study in asymmetry: These improve with knowledge and experience. Read, are more flexible and better
the two figures on the right are study, and immerse yourself in great design. Concentrate suited to the practical and
balanced by the dog on the left; on samples from the first half of the twentieth century aesthetic needs of today.” Jan
the effect is enhanced by the because they are models you can approach with perspec- Tschichold (1902-1974)
figures looking indifferent tive and objectivity.
directions. More obviously The most noxious name for white space is “wasted
asymmetrical is this experimen- space,’ because it lumps both well-used and poorly
tal violin made in Sweden tn used emptiness together without distinction and gives
c1800. The form was developed the whole subject a negative spin. It is a term used by
in search of superior sound. those who do not understand the value of white space.

245
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Emptiness is not the same as This isn't wasted space: the Time and motion are captured Time and motion are certain
,

wasted space. The three- headline has been broken to in this time-lapse photo of attributes of movie titles, which
dimensionality of these planes relate to the page perimeters torch-bearing pilgrims in became a more pronounced
of type all but require empty and the ragged white edges set Lourdes, France. aspect of moviemaking since
background - as well as the off these special alignments. the 1950s. These examples are
small type across the bottom. by Kyle Cooper.

“Wasted space” only refers to poorly used white space, “Many influences hinder inves-
which of course is to be avoided. The fear of “wasted tigation on the part of the
space’ drives design novices to fill in any empty space typographic designer... It is
with unnecessary clip art or to extend the text by arbi- usually much simpler for us to
trarily opening line spacing, called “vertical justification.” startle with “modern” effects
The ultimate wasted space is overfilled space (facing or revert to tried, successful
page). It is space that has been crammed with content, treatments ...1 suppose a re-
artlessly and uninvitingly presented. ally great advertisement is
Emptiness is wasted if it fails to achieve the desired one which does its selling job
attention-getting result, or to make the page look invit- efficiently while maintaining
ing with an unthreatening, airy presentation, or to act typographic excellence. Such
Space off the picture plane as a separator between elements. are not legion.” Oscar Ogg
is brilliantly used in this Brit- (1908-1971)
ish poster. We get the sense Time and motion
of looking out a window at Much of graphic design is created in two dimensions:
activity going on beyond the height and width. The third dimension Is depth. And the
picture plane - and the edito- fourth dimension is time, which is a component ofdesign-
rial message of “capture” is ing for multipage products like Web sites and magazines.
emphasized over identifying a Time impacts information in its pacing and rhythm.
particular rogue. Motion is simply a record of where an object has been
over time, much as one can think of a line as a record of
"Filling the sky with wires” Is the where a pen tip has been over time.
acerbic commentin this amended There are a few ways to imply motion in two-dimen-
city street drawing from the sional design. One is to repeat an element across space,
turn of the last century. which introduces rhythm. Another is to blur an element
by using a time-lapse image, for example, or filtering in

2 47
AILATILES ALIELILES TITS

up Me
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Amantes Amentes Films

me @
4

Time and motion: Use space Closure occurs when the viewer | Only one of these four cars has The missing top ofa soft-boiled
and careful cropping at the connects two parts into a whole. | a single set of footprints - and egg reveals the yummy yolk
trim margins to suggest move- Motion occurs as the headline, | a set of tire tracks revealing a | inside and artfully makes the
ment within and beyond the which has “fallen out" of the = | now-empty parking space in | point of toplessness on an
picture plane. text, is mentally connected to this c1965 Italian VW ad. | ovoid Car.

the spaces in the text.

Representational space is used Photoshop, or moving the original on a photocopy ma-

to show off contents - literally - chine. Lastly, motion can be implied by using space.
in this Walther-cast-in-acrylic Active white space can imply motion, as in this
sculpture by Dutch artist Ted letterhead design (above left) for a film production
Noten (facing page). company, inspired by a design by Bob Gill. Emulating a
projector's misframing in the theater, this is a startling “To invent, you need a good
way to think of the paper's edges. The effect is only imagination and a pile of junk.”
slightly diminished when copy is added to the sheet Thomas Edison (1847-1931)
because the type at top and bottom is much bigger and
blacker than the letter's text itself.
Closure (above) is used to connect the “fallen” letters
with the holes in the text, creating motion. The effect is
heightened by the increasing character sizes, overlapping
some letters, and tilting their baselines, as if the letters
had been caught in the act of falling.

rae Representational and symbolic space

Flat space can be rendered Empty space is considered extravagant, exclusive,
representationally, as in this classy. It symbolizes wealth and luxury. So leaving space
pitcher on an Spanish resort's empty automatically lends positive meaning to a design,
informational poster that regardless of what is being shown in the figures that lie
teaches how to make sangria. atop It.
By injecting a disproportionate amount of space
between characters and words, a self-consciously sophis-
ticated or, conversely, an amateurish look can be given
to type. A “river of white,” for example, is a vertical line

249
 Wen y
And playy,
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You'll wish with all your heart you'd taken the time
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And you Jibe
This is 14/11 Nicolas Jenson set
Reriiee across a 14—pica measure.
ote that the wor spaces are
larger than che line spaces and that
your eyes prefer moving vertically
rather than horizontally. Blur your
eyes and you will see wigely “rivers
of white.” TIP: Never use “Auto”
as a line spacing attribute because
it avoids making a specific decision
about how much space should exist
between lines. This must be a choice
based on increasing type’s legibility.
Incautious justified typesetting | White space symbolizes a river White space Is “cleanliness” in | was here.’ Turn the page and
can produce a “river” when in this logo for the fluvine city this three-page ad for cleaning | a full bleed spread appears in
line spacing is smaller than of Rotterdam. The abstraction equipment. The right hand __all its grungy, monochromatic
word spacing, and word spaces in stylized on or off pixels give opener Is a simple declarative hideousness. Whatever a Pow-
happen to stack vertically. | the city a modern edge. sentence: “The PowerBoss™ | erBoss™ ™
is, it evidently works.

The vastness of the white that becomes apparent when three or more word spaces
space - in contrast to the occur above one another (above left). This phenomenon
full-bleed photo - is used to of bad typography could be used purposefully to repre-
describe the emptiness of life sent content In a very sophisticated way.
without physical activity (fac- White space can be used to represent objects, like
ing page, top). The contrast Is “river, and ideas, like “clean.” Shown above is the mo-
further expressed by the saic symbol for Rotterdam, illustrating the city and the
reversed-out secondary head- Nieuwe Maas, the river which runs through it. “Cleanli-
line in the photo. ness" is symbolically shown in this opener and spread “They are ill discoverers
combination (above right). The pristine white paper and that think there Is no [sea],
Snow is represented not with unobtrusive type of the “after” view on the opening when they see nothing but
white ink (facing page bottom), page contrasts with the cluttered “before” view, which [land].” After Francis Bacon
but with the unprinted areas is revealed when the page is turned. (1561-1626), Advancement of
of paper, the negative space, Ideas that empty space can signify include: Learning
in this early 20th century Quality: extravagance, class, wealth, luxury, exclusivity
multicolor woodblock print Solitude: abandonment, loneliness |
by the Shimbi Shoin printery Missing: lost, stolen, misplaced .
in Tokyo. Clean: bleached, washed
Purity: unsullied, unadulterated, virgin, unbuilt
Heaven: absolution, sacredness
Abundance: plenty .
Openness: distance, acreage, al fresco, infinity —
Calmness: placidity, undisturbed, inaction
Ice: snow, sky, day, milk, marble, river, land/water

Ds)||
c4000 sc Beginning of written the first wheeled vehicle c1800 sc The Phoenicians de- 1,300 8c Hieroglyphs shown
language. Pictographs begin (similar to this model found velop a system that connects in a detail from a list of kings’
evolution into nonrepresen- in a burial vault), which could twenty-two spoken sounds names found in the temple of
tational marks. At about the triple the weight pulled by a with corresponding written Rameses II at Abydos.
same time, Sumerians build single ox. symbols.

Tae Inistoricall
clavaloomant of soacas
Sbx timalinas
Humans began communicating verbally
and through sign language about 150,000 years ago in
East Africa. Writing grew out of painting: cave painting
as early as c25,000 zc (left) represented ideas as well
as events. I As the idea of private property took hold in
the area from present-day Egypt east to lraq in c4,000.c,
taxes very quickly followed. Sumerian priests expected
accurate accounting of production in all areas, so picto-

520 sc Sigean Marble written 500 8c 1%" fragment of an 230 8c Egyptian hieratic script 196 Bc The Rosetta Stone,
in ancient Greek boustrophe- administrative record of the (left side) and hieroglyphics or found in 1799 by Napoleon
don (back-and-forth reading). payment of 600 quarts of an “sacred writing” (right side) on and translated in 1822, it is
This begins “/ am the gift of unknown commodity to five vil- a fragment of a papyrus scroll. the key to understanding two
Phanodicus...” i near Persepolis, Persia. ancient Egyptian languages.
AN OPI KO:E\p:TO H |
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3,000s8c Hittite hieroglyphics 1,000sc Cuneiform script
HEV 0 2Y.0F
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2,000sc Babylonian cuneiform 1,000sc Egyptian hieratic script 14y¥F 2.4994
TINE OKT EL BEV VE Se (Shep ~3.X6Y.4 0A
1,600sc Cretan linear script 1,000sc Late Phoenician script

1200 sc Sumerian cuneiform Several writing systems | symbols to spoken sounds, 842 ac First*use*of*punctuati
(from Latin cuneus: “wedge") evolvedsn parallel in communi- | and that system was adopted on*are*word-separatingsdotse
uses simplified pictures in- ties along the eastern edge of by their trading partners to as showneabove. Mostwriting,t
scribed in clay tablets. the Mediterranean. The Phceni- the west and eventually by the hough,runswordstogether.
cians’ system linked written Romans in about 700 sc.

GREEK ROMAN
800s8c 400ec 3008c 100s8c
graphs or “image drawings" were invented using images
& A A A
B B B B for each category and simple markings for quantities. |
r v C CG Systems quickly grew to more than 2,000 glyphs, which
A D D D
iS E E E could be combined to communicate abstract ideas. This
F F F F
ae 7 system took some years to learn, and those who did
A H H H
$ | | I learn it rose to high ranks in society. The images later Cuneiform was deciphered by
K K K Kk
AN AN L 1G grew to represent more complex ideas, ideographs, and Henry C. Rawlinson using the
Ihe: M M M
In N N N a new class of people was created to learn the system c500sc Rock of Behistun in Iran.
O oO Oo O and write in clay tablets. This was considered a necessary OC TY ve ON ‘ Se Ait ae m Orn <
Pr anit p P Jt 4 + je - ma )- a ta

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but not particularly aspirational task for the aristocracy, CT & z rh1Set ar <i = Tf re (OTT ~
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= Ss Ss Ss where memory was much more highly valued. | Shortly
al ai as iT:
ag Y Vv VY thereafter, Egyptian priests developed their own pictorial
2s X x :

c150 sc The Greeks and Romans, Ap 114 Trajan’s Column, the column, both wartime (those Av c200 Scrolls, in use since

having adopted the Phceni- carved letters of which are con- are the vanquisheds' severed about 400 sc, begin to be

cian system, add vowels and sidered the finest roman letters heads being given to Trajan) replaced as a substrate by the
achieve even type color. ever drawn, were first painted | and more peaceful achieve- | codex, or paged book made
then chiseled. Elsewhere on the ments are commemorated. from animal skins.

3353
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Ap 230 Papyrus, dried strips of The edged pen, made from c350 Copyists in monasteries c500 One of the first codex
the stem of a giant Nile valley feather quill or reed and dipped use parchment (sheepskin) and ("book with pages") Bibles is

water grass, is used as writing in ink, was the primary writing vellum (calfskin) in handwrit- copied near Mt Sinai in north-
surface in this Gospel Accord- tool for centuries. It was cut in ten duplications of existing eastern Egypt.

ing to St. John in Greek. this simple three-step process. works, usually Bibles.

writing system which was more concerned with recording

the status of its Pharaohs and gods. The Greeks called
it hieroglyphics, or “sacred writing.” Another Egyptian
language, hieratic script, or “priestly writing,” was de-
veloped in parallel and ts identifiable by its use of char-
acters rather than pictograms and having been written
“For all writing is worthwhile... almost exclusively in ink and reed brush on papyrus. I
according to the amount of The need for quicker writing caused the pictograms to Early typecast matrices show
service one gets from it.” be abstracted into cuneiform, or “wedge-shaped” writ- how letters are made ina
Christophe Plantin (1520- ing. This served as a more or less universal language so mold, then separated and fin-
1589), printer and publisher anyone in the greater middle east area, the "Cradle of ished. These are from a cl1500
Civilization,” could read and understand the message. | Prague foundry.

1478 Rennaissance design us- 1500 In the first fifty years of 1517 Early grid use in G.P. de The master printer checks a
ing white space perfects page printing, 35,000 books pro- Brocar's Polyglot Bible accommo- proof while his assistant pro-
proportions. This example by duced a total! of 8-12 million dates five languages. Such an duces another impression as
the Alvise brothers is among copies. The average run of “in- undertaking requires exceptional printed sheets dry on the line.
the first to use ornaments. fluency and printing skill.
 -dlcanefoenrem
mun
lorturri* Qutfentn deceut
Limen adfienpterie - blagaliua | -
pare quodlecrrae - Nonfcari

a
librpaddere mucare ays CES 4
|
causfame-confolacur - Qui
. Gpot ve aphece fy si
freriiuber. ELueriem non erfe qu ut'oe ne sus ct Qe
tefmonta con probaresy~ + Sten

c800 Space between words c1400 Fixed Jetters carved in

replaces dots» between words. wood blpcks are used for mul- | berg (cl1397-1468) of Mainz, understands molds and dupli-
Dots evolve to indicate full tiple impressions. But letters | Germany, invents an efficient cating metal masters. His first
stops (at cap height)*®and are not yet carved individually | system for attaching movable typeface is based on Textura,
pauses (at baseline). to be assembled and reused. letters to a printing press. A | the regional writing style.

When the alphabet was developed by the Phoenicians,

for the first time uniting spoken and written language,
smaller areas had a mechanism for recording their own
regional dialects and languages. | The development
of writing meant preserving thoughts and wisdom for
The first legibility studies were future generations. | The Rosetta Stone was inscribed a\
conducted in 1878 by French in 196 Bc to praise Pharaoh PtolomyV Epiphanes. Telling “Printing is the subject that
engineer and physician Emile the same story in three languages, it became the key to lies at the roots of Western
Javal. He discovered that the deciphering hieroglyphics and Egyptian demotic script. civilization. It's the beginning
eye doesn't move continuously Jean Francois Champollion translated it between 1814 of everything, really.” Stan
across a line of text, but makes and 1822 using the known third language, Greek. But Nelson, National Museum of

short “saccadic” jumps. his translation was disbelieved until another trilingual American History

c1760 John Baskerville develops c1790 Lithography ("stone | 1826 With photography's 1890 Marginal notes placed
smoother paper and ink and a writing") is invented, based on | invention and inherent realism, logically and intimately near
typeface, with pronounced thicks the idea that water repels oil- printers improve continuous | their reference points liven the
and thins, that takes advantage based inks. Its results are more tones. Photoengraving is intro- | pages of Whistler's English book.

Sa
of these refinements. subtle than letterpress. duced in 1871.

AND
With the former TRANSLé
Diligently Compared and Rev
By His MAJESTY"s Special Command.
AAR ATG

APPOINTED TO BE READ'‘IN CH

CoAP Me BERS T2D. Gok

Primed by JOMN BASKERVILLE, Primer to
Letterpress
 ot
-t
ol
thal
ager
aj
a
ayo!
ati

1917 De Stijl (“The Style") | 1919 Cubists reject the per- 1923 Dadaists exploit shock 1923 Constructivists combine

explores asymmetric type, sim- spective of a single viewpoint, through typographic experi- | words and pictures into a single
plicity, and dynamic divisions fragmenting and collaging mentation and apparent ran- | element. This example by El
of space. It influences construc- images, sometimes adding let- | domness. | Lissitzky, in a book with a tab
tivists and the Bauhaus. | terforms as abstract elements. index, illustrates a poem.

stone, the Canopus Decree, was discovered in 1866. | 1840-'990 Victorian

'§0-'900 Arts & Crafts
To make facing pages in early books symmetrical - and '990-""05 Art Nouveau
thus more pleasing to God - scribes insisted that both 05-25 =Expressionism
10-25 Cubism
the left and right edges of text columns be aligned. This 10-45 Futurism
'"1§-25 Dada, De Stijl
required abbreviating words, which led to the invention
15-30 Constructivism
of contractions. | Richard Hollis, in his Graphic Design, 920-85 Bauhaus
925-40 Art Deco
A Concise History, says, "A single sheet of paper printed 995-45 Surrealism
on one side is a poster: folded once, it becomes a leaf- 980-70 Modern
"945-70 New York School
The Linotype machine replaces let; folded again and fastened it becomes a booklet; 1950- International
handset type in 1886, speed- multiples of folded sheets make a magazine or book. "60-70 Pop, Psychedelia
'970- Basel
ing typesetting considerably. These - the poster, leaflet, booklet, magazine and book 75-90 Punk
75-90 Postmodern
- are the physical structures on which graphic designers 1990. Global
2007- Web 2.0

1959 The New York School, 1975 The 1960s and 70s 1979 Self-conscious design 1987 April Greiman builds on
beginning just after World War are decades of searching for guides the 1970s and 80s, as Weingart’s work, adding video
Il, brings a period of extraordi- symbolism, as shown by Milton in this Wolfgang Weingart | and computer references and
nary vibrancy. Glaser's LY NY logo. “Swiss Punk" poster. | geometric shapes as decorative
| elements.

TARPER'S
MITTEILUNGEN D, BUNDES DEUTSCHER GEBRAUCHS
°o

i727,
ABaXIHsVY
et
A-a
NEUNTES HEFT » ALS MANUSKRIPT GEDRUCK Kinder verkehrs garten

1927 The Bauhaus, both the 1934 Herbert Matter adds 1948 Lester Beall helps create | 1957 International, or “Swiss,”
school and the philosophy, is extreme photographic scale to | the modern movement in New | style grows from the Bauhaus.
founded as a new educational Tschichold's New Typography York with Scope magazine for | Armin Hofmann uses the grid,
program in Germany, marking | In montaged posters. | Upjohn Pharmaceuticals. asymmetry, and minimal typo-
the birth of graphic design. graphic contrast.

must organize their information.” To these structures we

DRESPEN IS09
ROY TE NSNUCUROSDARZ must add digital paperless communication. | Graphic
™ Ai—OLTOBER.
design evolved as a profession in the mid-twentieth
ERSTKLASSiG.MUNCHNER
CAFE und CONDiITOREi century from commercial artists in the trades of printing,
12 NEVHUSEN BilLARDS
typesetting, and illustration. | There are three kinds of “Disputes between the tradi-
NLESKET OFEFOKOIRY messages designers organize: identification (saying what tional and modern schools of
2
RIVES VARTE
something is), information (explaining relationships be- typographic thought are the
tween things), and promotion (advertising design whose fruits of misplaced emphasis.
FUTURISIA purpose Is to be visible and persuasive). These three | believe the real difference
Letterforms became more kinds of content can overlap and they do more often in lies in the way ‘space’ is inter-
pliable, adventurous, and expres- recent years when no opportunity seems to be passed preted.” Paul Rand (1914-1996)
sive in the art movements of up to make money. END
the early 1900s.

1992 Typographic deconstruc- 1998 Web site design becomes | 2002 The computer allows 2010 More than ever, it seems
tion, the battle between legibility the hot discipline through the design from any era - like using noticeable design is done off
and maximum visual impact, is ‘90s, largely mirroring print de- | these old metal types - but the computer. It uses fresh material

explored by many, led by Nev- sign. Web-like wayfinding Is ap- purpose of a document remains rather than the same premade

ille Brody's ‘90s work. plied to multipage print design. to be read. digital pieces as everyone else.
ipaiiii

» 4

= i:

| ||
|
ee

a—
ve
/me
 oT
boil : 00pecdo-cau
iiyeni:ob
Situs
ABCDEF
ASTDEF
HH] XAE M
HH] IM copnofert Apudnen
eoptaen eran enc tg @ rare ante. Opanvereny aque TY y
wmkouanupicgu aucaaact —_mssadiqarguta Bs» TYUUBUKPZ
Aapntd uniiatue vininchies Gx |g} meade’ ocxDinor} 1460 Carolingian handwriting
eee tasmmoeene tee he cooariaoais
Lao onueer cad dg GigTYUKPZ
od eh
bobll ma bibe
Sibillas plurimi ec max
Scisde ftpamstrco mewernfe-capn Guschficecreratvptie ne tle
fagemenoum arGimapa:e —erphaur
bene Grune mpowbmeeee rec trtr reed agg
pte edtapas impgunie BREE
Ke ee Doe ee EE
tierctFRER Rog SFGeTTHF HOE
fave gta KRebomh ee om ii irei i rit 1467 Sweynheim’s "roman" typeface
gerroevomarrnat jkitftmmmnninn waaaa
gpg gn cost pep pH ph eA RMee
DRERRAPHGAGHAdaagagadr
oggre front rire
DA
Gone
Quare multarum q
Et egmt Crh Ptr gmtleen 1470 Jenson's "roman" typeface
fGidoobmrwrgrppezrai3s 9
rire <
t¢e@erei
ALEFMEB
tee pore’ tid
nippere fC
gee

TTR ore
E xpecks eadema f
1500 Griffo's "italic" typeface

c110 Stone-carvers invent serifs c1450 Gutenberg makes the c1450 Gutenberg's font has c1460 Konrad Sweynheim brings

by finishing strokes with a per- first movable type, styled after 290 characters, including movable type to Rome, where

pendicular hit. Textura, the dark handlettering many ligatures and contrac- he adopts the region's preferred

of his region. tions to justify lines. Carolingian writing style.

Timeline 2: Letterforms and typefaces

Letterforms are the shapes of the characters we use
to write. Letterforms can be made by handwriting or
drawing them or by setting them in keyboard-accessible
fonts. A typeface is a set of predrawn letterforms that
are repeatable. Letterforms have existed for thousands
“The art of typography, like of years (technically beginning with the Phoenicians
architecture, is concerned in 1,600 Bc, who first attached a glyph to each spoken
with beauty and utility in con- sound), but the first typeface ever made was Gutenberg's
temporary terms.” Bradbury in about 1450. | Typography as practiced today has
Thompson (1911-1995) been shaped by technological developments as much 1880 Mocking the idea that
as by artistic evolution in the intervening 560 years. Yes, type could possibly be set by
machine.

1818 Giambattista Bodoni's c1885 Andrew Tuer's function- 1925 Paul Renner’s initial 1930-1960 Technical improve-
hardened “punches,” which al descenderless typeface for sketch for what would become ments in metal typesetting
were used to make female use "where economy of space his Futura typeface shows a abound. Use of sans serif types
molds for molten lead copies. is an object - as in the crowded search for a new formal unity widens. Phototype Is invented
columns of a newspaper." among its letterforms. and develops.

GHIJKabcdefghij
aaciabbbbc
REVIEW: Prenarations=Brighton
From our_Special Correspondent
1930 Eric Gill's Perpetua
éEnidemic:Russia-Specialletter
Good Fridau $ Brother Ignatius
AN inquiry which has Just been
ddefgghij GHIJKabcdefghijk
kl mnooepp
1932 Stanley Morison's Times New Roman
ne€ld at Brishton once more i-
lustrates the kind Of leading
suinss in which 10Cal munici-
GHlIJKabcdefghijkin
qqrristuv
PalhitieS are kept. AN inSPecuor
of the 10Cal Government BOarda 1948 Jackson Burke's Trade Gothic
has been holains a kind or pup
-lic inquest ON the Proposal Or
the Brighton Corporauon to bor
TOW 55.0001. THiS eNterprisins WXKYZ GHlJKabcdefghijkin
1957 Max Miedinger's Helvetica
Galuanius in id tempu
1535 Claude Garamont: first to sell his types ABCDEF ABCDEFG ABCDEFG
Lacrainte de!’ Eternel< KLMNO] 4IJKLMN HIJKLMN
STUVW: OPQRST Om @ixsal}
1621 Jean Jannon's Antiqua

Quem ad finem ses

UVWXYZ UVWXYZ
&:12345€ AC
1724 William Caslon: first “English” typeface

Catlina, patientia
1760 Giambattista Bodoni: first “Modern” types
1234567890
1500-1800 Letters become | 1817 William Caslon iv was | made it financially viable in
sharper, change stylistically, duced, soon became known as__| the first to develop a type | 1847 (right). Many typefound-
and are more even in overall “Egyptian” because Egyptian without serifs (left), but it was ers quickly followed his lead
tone, taking advantage of ink discoveries happened to be Vincent Figgins who took the | and created their own sans
and paper improvements. wildly popular at the time. idea, named It “sans serif,” and | serif types.

typography has changed in response to fashion and style,

DiGITAL
TT REEREE
but the important, lasting developments have been in
response to improvements in ink and paper, ways to
increase the speed of typesetting, and decreasing the
besiGn:
cost of type’s manufacture. Type is, after all, a business as
well as an art form. | Western letterforms come from two
More styles
“What type should | use? The sources: capitals, or “majuscules,” perfected in Roman in- & more choices
gods refuse to answer. They scriptions (and evolved from earlier Greek and Phoenician 1988 Computers allow anyone
refuse because they do not characters). Lowercase letters, or “minuscules,” evolved with an interest to design
know.” W.A. Dwiggins (1880- in Medieval handwriting, before the invention of print- typefaces, increasing typestyle
1956), who also drew the art. ing: letters were simplified by copyists so they could be variety and the public profile
written more quickly. END of typography.

1960s Phototype, developed 1970-2000 Digital types arrive, 2000 Emoticons are invented 2010 New letterforms are

in the 1920s, leads to tighter putting type design and manu- to add tone of voice to written invented when new communi-

letterspacing in the 1960s facture in the hands of anyone messages, which can be mis- | cation needs become evident.

because metal “shoulders” no with a computer. Early types understood. They are combina- This “SarcMark" says “sarcasm”
longer exist. require 300dpi optimization. tions of keystroke characters. and replaces some emoticons.

POUT! ABCDE
1974 Dot matrix printers output at 72dpi
£:-( BL {:-)
Blueprint lost in tre

" EREERFEEFEE Se) tal lk

1985 Lucida is designed for 300dpi

- Magnetic old rene ofa leo) he

1990 Beowolf creates letter variations on the fly
TURES BY SPARBER
UMERICKS BY HERB LUBAUI! s
PHOTOGRAPHED
BY CARL FISCHER =

1997 First OpenType font has 1,300 glyphs

B09
c15,000 sc Identifying marks | 6,000 sc The first identifiers c1200 Merchants’ marks are | 1282 The earliest watermark,

have been around since the were Sumerian stamps (A). Three | widely used to mark packages. a symbol embedded directly

beginning of human writing. thousand years later, cylinder Being diagramatic, they com- into paper fibers to indicate the

Here, paint was spit-sprayed seals, rolled across soft clay, municate across dialects and paper's maker, Is Italian.

around the artist's own hand. showed stories as signatures (B). | languages, even to illiterates.

aa Zz wy Ae
Timeline 3: Logos
A logo is a mark that identifies an individual or busi-
Symbols
Representational signs ness. Logos have a rich and fascinating history. “Logos”

iS
Realistic images of objects is Greek for “word,” and it is a term that is widely and
incorrectly used to indicate all corporate trademarks.
Marks may be symbols (marks without type), lettermarks
Pictograms (letters form the name), logos (a pronouncable word), or
Descriptive images of objects
combination marks (symbol and logo together). | What

Families <=
Symbolic signs
is right with your logo's design? Is it smart, beautiful,
witty, elegant”, original, well designed, and appropriate?
Pictograms with new meanings Does it use negative space well? Is it, in a word, good**?

[o] wks O
A good logo must be good on Its own design merits - it
Combination marks

Ideograms
Nonrepresentational ideas
Wi, 1933 Lucian Bernhard, aGer- | 1971 Carolyn Davidson, a stu- 1972 A logo Is a mark that is
CL oe
Y S
Ox Lhe
GeTi”
man designer now best known | dent at Portland State Universi- a pronounceable word, like

Diagrammatic signs | for his typefaces, creates a | ty, is paid $35 to design a logo | Exxon. Shown here is Raymond
Nonrepresentational, arbitrary body of lettermarks for compa- | for a new sneaker company. | Loewy's first sketch, done in

Ba iis
Synonimic signs
nies in Europe and the U.S.

PIC
| 1966.

EXON
Images with the same referent

Semiotics, the study of signs "SWOOSH" Design

1971
Cl
EXON
and meanings, defines nine cat-
egories of marks, of which these
six are the most important.
Fede Spice ct
 T theOld Collier.i Cae
at Fleet-Ditch, near Hol-
born-Bridge, Are ‘good Coals,
Deals, Wain{cote and Beach, &c.
fold at reafonable Rates, by
John Edwards

1502 Aldus Manutius adopts 1670 With the advent of print- | 1750 Pottery and porcelain 1864 Stylization is introduced
the anchor-and-dolphin device, ing, ‘tradesman’s cards" are marks are pressed into the bot- | to denote quality in England in
symbolizing the proverb | simple, literal depictions of | toms of pieces to indicate prov- the second half
of the 1800s.
Festina lente, or "Make haste businesses. enance and artisan. These are
slowly." samples from Delft, Holland.

Eaquin has inherent aesthetic’ quality - and it must be good

for the client by satisfying their brand positioning, by

Grmatnh ogee meeting clearly stated business objectives, and by the

designer's ability to explain why a design solution Is right GOOD TOWTHEIWASTIOROR!|

Che New York thinking. | Though logos are part of agreater branding
effort, every logo should be a perfect jewel of character- A logo Is often accompanied
filled relationships that reveals the designer's mastery of by a tagline. “Good to the last
the fundamental figure/ground relationship. EN D drop®” may have been coined
* Elegance \s not the abundance ofsimplicity. Elegance is the absence in 1907 by President Theodore
These handlettered logos, all of complexity. ** Good is a solution to a real or clearly stated prob- Roosevelt at Maxwell House
done by Ed Benguiat, are lem. Good lasts for ten years. ' Aesthetics = artistry + inventiveness Hotel in Nashville ... or it was
examples of positive and nega- brought to a problem. written by Clifford Spiller, then
tive shapes in perfect balance. president of General Foods.

1978 Abstraction is used in 1989 Stefan Geissbuhler de- | 1993 A modern mark notable 2006 Logos need regular up-
symbols when the companies signs the Time Warner mark. for its elegant N, W, and de- dating to be contemporaneous.
they describe are not easily iI- The final is a hand rendering scriptive arrow created by The earliest mark here (top

CGT
lustrated. This is for a Brazilian because the computer-drawn negative space. left) is from 1901.
banking group. studies were too sterile.

3 61
 THE

MARTHA WASHINGTON
TEMPERANCE

AT UNION HALL:
Will be continued THIS af-
ternoon and evening, and (o-mor-
row, and will be terminated to-
S SANBNENANE NANA morrow evening.
[_ This Bvening the

EAGLE, 160 Feet ta length aud 5@ Feet in height.

aud wonderful Machine be |
GLEE CLUB,
Will sing several Glees, Songs,
ge. Admittance 12; cents.
etober Oth, 1842,

1400s-1800s Early posters 1835 Wooden type and wood- 1842 Throughout the 1800s, 1881 A Belgian poster adver-

were called “broadsheets” and block art was used in this printers made announcements tising a regional art exposition

announced festivals, lottery one-color letterpress poster that were, in the absence of uses five colors: black, red,

sales, political and religious advertising the exhibit of a magazines, radio, and television, silver, gold, and green.

statements, and even news. French airship. the key advertising medium.

Timeline 4: Posters
Posters are the most simpified form of printed commu- TONALE |
i ACREO!

nication: picture and words joined to form a single mes- ie :

sage, printed on one side of a flat sheet of paper. | The

earliest human markings on cave walls were essentially
posters: they were messages to be seen by the artists’ com-
munity. Such work today would be called murals or graffiti.
Before printing, messages were inscribed or written or
Surrealism can be employed painted directly onto walls. Each singular message had
to disguise the obvious: a necessarily limited audience. | With the invention of
Macbeth, a surrogate for the printing, posters were, for several hundred years, printed A Parisian hanger pastes post-
Polish population, can neither by letterpress black ink on white paper. Though simple ers onto a kiosk, c1952.

see nor speak.

1948 Max Huber, a Swiss liv- 1953 Josef Muller-Brockmann’s 1960s Psychedelic posters 1960s - 1980s The Polish Poster
ing in Milan, expresses motion, International style builds on explored malleable, distorted School uses metaphor to slip
speed, and noise in bright the cleanliness of Swiss design. letterforms and organic, art messages past their Cold War
colors. nouveau expression. communist watchdogs, as in
this 1982 work by M. Gérowski.

Gesundheit
 Ad
ja
SN

1892 Toulouse-Lautrec develops 1924 Alexey Brodovitch 1925 One of Cassandre’s earli- 1933 A stylized figure holding
the poster as an art form, launches his career with the |est posters stylizes the human | an enormous fork on which is
building on the pioneering Bal Banal poster. Brodovitch | body. Seven years later, his stabbed red meat (“charcuterie"
work of fellow Parisian Jules goes on to become the cre- work for a restaurant reflects means “cooked meats") gets the
Chéret. ative spark at Harper's Bazaar. | the cubist movement. attention of Parisian foodies.

by later standards, printing made one message postable

in multiple locations for a far larger audience. | Posters
really became the method of “broadcasting” in the late
1800s, as the development of color lithography gave an
advantage to competing businesses’ efforts to attract

J ott
Mm
damier
I
passersby. Artists brought their aesthetics to bear on “A poster must do two things
what had largely been utilitarian workmanship: printers
sii
|
well: to be noticed and to
Or
re
oma
Nn
eo
cv
FETT dki|‘ had been the designers. | Posters’ effectiveness can be hold your attention long
Posters can play with the attributed to simplicity (of both the message and the de- enough to get the message
substrate on which they are sign), large solid areas, and expressive use of letterforms. across ...and in that order.”
printed: this 2009 poster Is Making a message stand out is half the challenge. The Emil Weiss (1896-1965)
woven with four horizontal other half is saying something of value. EN D
strips of preprinted paper.

1993 Phillipe Apeloig's 1999 Stefan Sagmeister's an- | 2003 A poster on French 2009 Niklaus Troxler produces
Bateaux sur l'eau, riviéres et nouncement Is body-carved, graphic designer Robert Mas- example after example of
canaux shows partly “sub- maybe questioning written | sin is inspired by Massin’s own | outstanding expressive typo-
merged” type as boats - and language itself at the turn of | eclectic typography from the graphy, here a poster for a jazz
reflections - on the river. | the millenium. 1950s and 1960s. | concert with Greek accents.

Exposition
a
inuo:w AY
SS Gont

i
)
 RUN'C Ie
LONDON GRARIVARI
a

1841 Punch magazine, named 1903 Illustrated news weeklies 1927 A.M. Cassandre's cover 1929 Modernists transformed
after an Irreverent puppet invent- that combined a balance of | for the Chemins de fer du Nord, magazines with sans serif type
ed by Samuel Pepys in 1662, type and imagery proliferated | the French railroad company, and dynamic layouts, as in
first publishes its mix of politics with the development of indus- was used for every issue of the this early example by Joost
and satirical humor in London. trial society. | corporate magazine. Schmidt.

Timeline 5: Magazines
Periodicals evolved from leaflets to pamphlets to
almanacs until 1663, nearly two hundred years after the
invention of movable type, when the first true magazine
offering specific information for a specific audience was a
German monthly, Edifying Monthly Discussions. This was “Advertising made magazines
a collection of summaries on art, literature, philosophy, larger - because ads need
and science. | There are two basic types of magazines: large display space; it made
trade magazines of highly specialized information, magazines use illustrations;
Broom was one of many artist- which are usually mailed to readers; and consumer it required color printing and
led periodicals in the 1920s magazines, which cater to wider audiences. With the better paper; and it required
and 1930s “on the vanguard of growth of magazines’ Internet sites, readership of print huge circulations.” M.F. Agha
an intellectual movement.” (1896-1978)

1953 Bradbury Thompson over- 1964 George Lois creates 1984 Emigre magazine publish- 1992 Nearly illegible type
laps the four process colors as series of covers for Esquire | es on the Macintosh platform. defines Ray Gun's brand. David
flat tints in his art direction of that sometimes use pictures Using custom types, it influenc- Carson's eagerness for chaotic
Westvaco /nspirations. of pictures, as in this memorial es the design community with design sets this cutting-edge
to JFK. emerging DTP technology. music magazine apart.
 — =
MOVEMBER 79, 1936 10 CENTS

1930 Henry Luce starts his new 1935 M.F. Agha introduces 1936 Alexey Brodovitch be- | 1936 Henry Luce buys Life, a
business magazine and promis- American readers to the first comes A.D. at Harper's Bazaar | 53-year-old genera interest
es “as beautiful a magazine as use of sans serif type, full-color | and begins a 42-cover relation- magazine and turns it into the
exists in the U.S." four months photos, and full-bleed images ship with Cassandre, who cre- first American news magazine
after the stock market crash. at Vogue and Vanity Fair. ates surrealist-like images. to feature photojournalism.

magazines has decreased since 1990. | “Magazine” THE ESSENTIALS

means “storehouse,” here specifically of editorial matter

and advertising. Editorial content interests and attracts
buyers, advertising is what supports the costs of produc-
tion and distribution. Graphic design was first applied
to ads to gain attention, then migrated as “illustrations’
to the editorial pages that originally were purely textual. Esquire uses electronic paper
In the competition for attention, a magazine's own spe- to make the first moving maga-
Metropoli, a Madrid newspa- cial branding is becoming increasingly vital. Thus tight zine cover; the first Augmented

per's weekly magazine, uses control of typography, patterning, and visual consistency Reality issue of a magazine; an
type on every cover, flexibly are successful characteristics of an identifiable published iPhone app of the magazine;
and
reinterpreting its logo or, In storehouse of collections of information. END an e-reader tablet version, all in
magazine speak, its “flag”. the drive to master new forms.

|
1993 Fred Woodward produces 2000 Magazines become a 2005 Luke Hayman's New York | 2010 Janet Froelich continues

a decades-long line of out- source of innovative typogra- | wins SPD's Magazine of the a series of extraordinary itera-
standing, expressive feature phy as Web-like treatments Year award, winning over GQ, | tions of the NY Times "T" logos

spreads for Rolling Stone are applied to a more sophisti- the NY Times Magazine, Dwell, | on the covers of the Style
magazine. cated audience. and four others. | Magazine.

AND'ACTOR (VIGGO MORTENSEN)

3 65
 1969 December 1970 December

1972 August 1974 June

1969 The Internet is born as | 1993 First generation sites 1994 Second generation sites, | 1996 Third generation sites
the "ARPANet," initially a small typically have headline ban- now using HTML, fit more can have the position and rela-
network connecting four West ners, text, and few graphics. | graphics, leading to overcrowd- tionships of all elements speci-
Coast universities. It has grown Structure Is only top-to-bottom | ed design with color panels, fied on the page for greater
exponentially. and side-to-side. icons, and decorated buttons. type and layout control.

Timeline 6: Web sites

1989 Tim Berners-Lee proposes a system to allow
physicists to communicate from remote locations, includ-
ing HTML, HTTP, and rudimentary Web browser software
that would work on any computer. | 1991 The first Web
“Whereas building is merely a server goes online at CERN in Switzerland. Within a year
matter of methods and mate- there are fifty servers worldwide; in 2001 there are 24 This Web Trend Map, updated
rials, architecture implies the million. | 1993 Marc Andreesen develops Mosaic, the annually, shows the use and
mastery of space.” Walter first GUI (Graphical User Interface) browser, making Web traffic patterns on the Web.
Gropius (1883-1969), architect navigation easy and intuitive. Mosaic, offered as freeware, Everything digital can be easily
and co-founder of the Bauhaus ushers in the first of four generations of Web site designs. measured, and Web use is
Slow modem speed and monochrome monitors shape scrutinized by various groups
ARPANet = Advanced Research Projects Agency Network HTTP = Hypertext Transfer Protocol and entities.
CERN = European Organization for Nuclear Research HTML = Hyper Text Markup Language

Web site designers must Visual hierarchy is crucial, Expected placement of menu Text and visuals can either
|
balance content (the informa- especially on retail sites, where | and submenus is the top ofthe be side by side or overlapping.
tion), usability (the interface | the progression through find- page. The user expects sub- Overlapped type over image
and navigation), and appear ing and buying must be as menus to drop down from the is hard to read, so reduce con-
ance (the graphics and text). invisible a process as possible. primary listing. | trast in the background.

&CAPACITIES
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1999 Fourth generation sites Sites are designed to produce | If one component of a site | User experience is what
have the usability and visual “impressions,” “click throughs,” isn't producing adequate | matters, regardless of media.
dynamism of interactive design and “conversions,” each of results, it can be instantly re- What works tn print - contrast,
because of CSS and high speed which is minutely measurable. placed with a different design | emphasis, and space - are ap-
and wireless connections. | to get higher performance. | plicable on the Web.

early sites’ design, which was basic left-to-right, top-to-

bottom sequencing. Interactive design is more advanced
than Web design. | 1994 The second generation begins
when W3C introduces HTML, leading to icons instead
of words, menus, and more graphics. Download speed “The greatness of art is
belongto the over phone lines, poor typographic control and legibility, not to find what is common
1998 Nagano Winter Olympics and compatible screen resolution are major concerns. but what is unique.” |saac
site. Complex sites are like | 1996 Flash animation brought the third generation Bashevis Singer (1904-1991),
magazines, but whose pages and an increase of visual content with faster speeds. | author

are constantly changeable. 1999 The fourth generation features CSS, interactive
Site architecture must resolve content, and thoroughly customizable design. Interac-
variety with making each page tive design and Web design are now equivalent. — N D
look like it belongs to one site. W3C = The World Wide Web Consortium CSS = Cascading Style Sheets

Design unity integrates name, Divide information into equiv- | Lead the user through informa- Typefaces must be legible with
logo, colors, tagline, fonts, and alent chunks so each page tion or pages. Make the “next” large x-heights and open counters.
imagery on each page and the offers about the same amount | and “back” buttons prominent. Add space for easier on-screen

feel of the entire site with of content. Have a single focal | Don't give the user unneces- | reading. Use words rather than
existing branding players. point per page. sary options. | Icons, which must be learned.
ienituce |west elm

Calipia
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“A (person) must not be content
to do things well, but must also
aim to do them gracefully.”
Giovanni della Casa, from :
Galateo, or The Book of Manners
(1558)
 Section Two

» 49Unity and space 71

“’ Similarity and contrast 73
. Using space to create unity 77

5 The seven design components 81

Space 81
Unity and gestalt 83
Proximity, Similarity, Repetition and rhythm,
Theme with variations, Modularity, Figure/
ground, Closure or completion, Continuation
Point, line, and plane 87
Scale and dominance 89
Hierarchy 89
Balance 91
Color 93

6*How to use the seven design components 97

Think of shapes 101
Design is a process that evolves its solution 101
Diagrams 105
 : MEF
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s1) We

oda} AW WOW
_. BYGEORGE. SZELL
SESH RON
 If there is just one thi ng you
attempt to do as a designer, it
must be to create unity among
the pieces and parts with
which you are working. Make
the type relate to the image,
| make the image relate to the
type. Take the attributes - or
even just one attribute - from
| one element and apply it to
JON?
the others. The point is to make
La singular message, a message
involvement from the reader.

| Fooling around with things

| that looks predigested and pro- | and leaving them in disunity is
cessed In a way that encour-
ages sampling and, perhaps,
hardly a necessary addition to
| the communicative process.

Technological limitations have

Untty ana soaca Similarity and contrast 73
forced unity on design. Sume- Balance similarity (which
rian cuneiform scribes had only can produce boring
= Ss
wedge-shaped sticks and soft B nity contributes orderliness and sameness) with contrast
clay (left, background) and ~ coherency and a civilized state of (which can produce unre-
fifteenth-century printers had Z things generally. Whereas the Con- lated noisy busyness).
only a few handmade fonts trast family are all savages, more or less. -
(left, foreground). This example William A. Dwiggins* (1880-1956) Using space
is from Geofroy Tory's Champ to create unity 77
Fleury: The Art and Science of One goal of graphic design Is to achieve visual unity Consistent, defined
the Proportion of the Attic or or harmony. Eugene Larkin, in the introduction to his Spaces join and add a
Ancient Roman Letters, Accord- book Design: The Search for Unity, writes, “The minimal sense of organization.
ing to the Human Body and Face. requirement in visual design is ...the organization of all
Tory (c.1480-1533) completed the parts into a unified whole. All the parts, no matter
the ninety-six page comparison how disparate, must be reconciled so they support each
of perfect proportion between other.” In other words, elements must be made to work
the human body and letter-
forms in 1529. Champ fleury
together with the greatest interest to the reader and
with the least resistance from the reader.
Caledonia
means ‘flowery fields,” or Because they had very limited resources, the earliest Electra
design practitioners achieved visual continuity rather eas-
Metro
“oaradise.”
ily: it was externally imposed on them by lack of choice of
Intentional use of similarity materials (left, top). Today, with the abundant resources *Dwiggins coined the term
and contrast are shown (left, available as digital information, giving designers the graphic designer, designed hun-

bottom) in these four student capability to replicate with near exactitude the work dreds of books and eighteen
studies of typographic systems of any era, we must exercise internal restraint to achieve typefaces, and wrote the first

and space. harmonious, unified design. book on advertising design.

47]
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ioer tox! byacl nts, bo ks, an ual reports and Acknowledgoments
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Reading between the lines: designers & writers ae

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at ography
Laslie Smot : pogram. New York

WITT &
sy” is 0 word thot hardlydoesjustice to Lourie Anderson, who hos
been o Whicwindiofoctivity this yeor: Her retrospective book Stories from
Nerve Bible, wos released in the spring; her new album, Bright Red, come
ovt of the end of Augusi; 0 new tour will stort up by yeor’s end, | wos told
ters
| would “probably” get to interview her this Friday, provided her schedule

didn’t breok down. Bright Red isAnderson's mos direct album since her debut,
BigScience. Luckily, it didn't, ondthepetite womon with thedeapsmile
Hines
ond friendly monner greets meatthedoor of her office/opoctment indown
town New York.Her trodemark storytelling vocol styleis prominent,
within
strumentotion
ondelectronically alteredwoices kept1o0 minimum, AndyetWt
turnsoutAnderton wos0s surprised bytherecord oscayone, “1stally verte
bout power ond outhority,” she laughs. Alter sifing across from me ina
hugelivingroomthotoverlooks
theHudson River,sheposesthefirstquéstion

me

kK \ A
!
Standardized column widths not add in any way to the easy | The diagrams above right show |
simplify what is an overly scanability or user's absorption the number of column widths
complex page. The original of the material. While there | after the redesign: from thirty-
is a haphazard, make-it-up- may be nothing wrong with four to just two. Such simplicity |
as-you-go assembly of pieces the “before,” there is definitely signals distinct kinds of infor-
that may function but does nothing right with it either. mation and builds unity.

Activated white space and dra- Similarity and contrast

matic cropping of letterforms Dramatic contrasts, scrupulous similarity, active
(left, top) make this poster's white space, and a great idea are the primary attributes
point for the AIGA NY. of well-designed documents. An environment of similar-
ity or consistency Is necessary to make a focal point
visible. Planning a consistent environment Is one of the
most important aspects of a designer's work. Yet design “The problem, not a theory
Image and type must share more consistency should not be so unchanging that it stifles nora style, determines the
than mere proximity. Their variety or becomes boring. It must express predigestion solution.” Kar| Gerstner
forms should be similar (left, of the content to make important facets clear. Unity Is (1930- )
bottom). The strongest unity Is achieved byjoining elements and exploiting their poten-
created when their meanings tial relationships and alignments.
are fused, as in: Without similarity, an environment of quietness in

dialog
which important elements can be seen will not exist.
On the other hand, without contrast, a design will be
uneventful and uncommunicative. Achieving a balance
between similarity and contrast is necessary for effec-
tive, dynamic design. There are five ways to develop an
environment of similarity:
@ Keep it simple. Eliminate clutter and affect: standard-
ize column widths (above). Don't fill holes by inserting
garbage, or at least material your reader might think
is garbage. Having 70 percent of your material read
because you have withheld the 30 percent that Is less
important is far better than having only 5 percent read
of everything you've shoved on the page.

473
SPACE FORM STRUCTURE TEXTURE
filled : empty simple : complex organized : chaotic fine : coarse
active : passive beautiful : ugly aligned: freely placed smooth: rough
advancing : receding abstract : representational serif : sans serif reflective : matte
near: far distinct : ambiguous mechanical: hand drawn slippery: sticky
2-D:3-D geometric : organic sharp: dull
contained : unrestricted rectilinear : curvilinear SIZE fuzzy: bald
symmetrical : asymmetrical big : little
POSITION whole : broken long : short DENSITY
top: bottom wide : narrow transparent : opaque
high : low DIRECTION expanded : condensed thick : thin
right: left vertical : horizontal deep: shallow liquid: solid
above : below perpendicular : diagonal
in front: behind forward: backward COLOR GRAVITY
rhythmic : random stability : movement black: color light : heavy
isolated : grouped converging : diverging light : dark stable : unstable
nearby: distant clockwise: counterclockwise warm : cool
centered : off center convex :; concave bright : dull
aligned : independent roman: italic organic: artificial
in: out saturated : neutral

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Creating similarity lets some- The intentional lack of a focal Unity occurs whenever a treat-
thing stand out as an anomaly, point is achieved by making ele- ment Is given to both type
or focal point. The lone element ments the same or nearly the and image. In this case, severe
that Is centered and looks “on same. These letters disappear | cropping - to near illegibility
top" becomes the focal point, among ink spots of about the and abstraction - is applied to
even though it is small. same size and color. both elements in this poster.

Every contrast pairing is an @ Build in a unique internal organization by using an

opportunity for both similar- unusual or eccentric grid system.
ity and unity (left, top). For M@ Manipulate shapes of images and type to create de-
example, consistent use of sign unity despite the fact that they are inherently dif-
bigness, instead of contrasting ferent languages. Color, texture, and direction can also
it with smallness, can unify a be used by building on attributes of the image. More
multi-spread story. difficult - and far more effective - communication
comes from unifying the meanings of images and type. Continuity from page to page
Dissimilarity is inherent in the @ Express continuity in a magazine from page to page is Important so a multi-page
mixture of elements a designer and issue to issue. The handling of typographic ele- document doesn't look like
uses: things start out not be- ments, spaces between elements, rules and borders, in- random spreads bound together.
ing alike. Sophisticated design dents, illustrations and photos, and charts and graphs Balance consistency with
is a result of intentional con- should show a plan and some self-imposed limitations variety to keep it interesting,
trasts (facing page, bottom), in formal relationships. Without such limitations, con- as In this museum catalogue.
as when red typesetting Is tinuity can be achieved quite lazily and simply by, for
emulated as white bars of the example, flipping all photos upside-down. It may not
same height and width, and be practical in everyday situations, but it is easy to
pieces of a chair are replaced imagine how it would unify a multi-page story.
with equivalently-sized lines @ Develop a style manual and stick with your format.
of type. Such designs work be- Straying absorbs valuable preparation time and makes
cause they have a balance of truly important variations less visible. Don't try to be “Nothing is good but in
similarity and difference: parts different to be "creative." Worthwhile originality grows proportion.” Edmund Burke
are different but have been out of the special needs and materials at hand. (1729-1797), statesman

made to look similar. To make the important part stand out from its surround- and philosopher
ings, select from the ten contrast categories shown at
the top of the facing page.

475
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Unity through proximity: the Unity throughysimilarity: purple Unity through repetition: this | Unity through theme with vari-
type Is impacted by the fist type corresponds with other Web site uses repeated button ations: a marketing kit is made
(extreme proximity) in this rock purple type, overriding the size (four rectangles beneath of parts that require overall de-
concert poster, which shows size contrasts and making an the photo and seven icons | sign cohesion with flexibility to
the band’s punk and country additional subgroup. Note the beneath them) and centered accommodate various formats
sides in attitude and motif. proportional type widths. placement to create order. and purposes.

Spacing between elements Unity can be achieved by manipulating proximity,

should be consistent to reduce similarity, repetition, and theme with variations:
clutter (left, top). Changing @ Proximity (also called grouping or relative nearness):
the space between the same The simplest way to achieve unity. Elements that are
elements produces very differ- physically close together are seen as related.
ent results. Each of these four @ Similarity (also called correspondence): Elements that
studies has exactly the same share similarity of size, color, shape, position, or tex-
content. ture are seen as alike. The reverse of similarity is inten-
tional contrast. Alignment is an aspect ofsimilarity in
The negative space within let- which elements that line up appear related.
terforms from a variety of type- M@ Repetition and rhythm (related to similarity): Any ele-
faces are illustrated in a series ment that is repeated provides unity. The repetition may
by Emil Ruder (left, bottom). be positioning, size, color, or use of rules, background
Despite their being sourced tints, and boxes. Repetition produces rhythm, which
from dissimilar typefaces, the can be exploited by breaking it meaningfully.
concept and powerful shapes @ Jheme with variations: Simple repetition without va- “Space is the glue, the common
centered in white on black riety becomes boring in Its sameness. Alteration of a denominator of a visual
squares unify them as a group. theme retains design connectedness while providing composition.” Ken Hiebert
diversity. (1930- )

Using space to create unity

White space and the consistent use of type (see
Section 4) are the two most useful tools to create unity.
Order the space between things. Elements that are physi-
cally close together look like they belong together (next
page, top right). This is the Law of Proximity. Elements

477
In the early sixties, a psychologist at They were introduced to another per- Of course, the whole setup was an Before he began, Milgram asked his stu- These experiments are fairly well known to Of course, designers are regularly
Yale University named Stanley Milgram did son they were told was a fellow volunteer. iMusion. The shock panel was a convincing- dents and fellow psychologists to predict the general public, and the most common paid a lot more than $4.50 to do things
a series of notorious experiments that This second person was to serve as the looking but harmless prop; the fellow how many people would administer the moral drawn from them is something like, a lot less overtly heinous than administer-
explored the dynamics of hierarchical rela- “learner” and the subject was to act as volunteer, the “learner,” was an employee highest shock. The answers were almost “People are capable of anything if they're ing a 450-volt shock to a fellow human
tionships, ones where someone was in “teacher.” The teacher would be directed of Milgram's who was particularly good always the same: at the most, one or given an excuse to do it.” However, this is a being. Occasionally they help promote a
charge and someone else was following by the experimenter to read a series of at screaming in agony when receiving the two out of one hundred. Milgram himself, misinterpretation: most of the subjects, cause or product they truly don't believe
orders. He wanted to find out how far word pairs to the learner, and then test the imaginary shocks. The purpose of the then, was surprised when almost two- even the fully obedient ones, were anything in, or design something to intentionally
someone would follow the orders of learner on his memory. For each answer exercise was not to study learning, but thirds, 64% of the subjects, did as they but cheerful as they followed the experi- deceive the public. But these dilemmas
another person if he perceived that por- the learner got wrong, the teacher was to to study obedience: Milgram wanted to find were told and went all the way to the menter’s commands. In fact, it was com- are fairly rare.
son's authority as legitimate. administer to him an electric shock. This out how far people would go up the scale, top of the scale. mon for subjects to protest, weep, or beg
would be done with a control panel with how much pain they would inflict ona hysterically to be permitted to break off Most commonly, what most of us have done
The experiments had many variations, but thirty switches ranging from 15 to 450 fellow human being, just because someone Milgram did a lot of variations in the the experiment. Still, the obedient major- at one time or another is make something
they allbasically went like this. Milgram volts, labeled in increments “‘slight shock,” else told them to. experiment to try to drive the number ity, prodded calmly by the experimenter, alittle stupider or a little uglier than we
asked people to volunteer for an experi- “moderate shock,” “strong shock," and on down. He moved the setting from Yale to would pull themselves together, do what really thought it ought to be. We've had
ment they were told was about the rela- up to “extreme intensity shock,” “danger: a tawdry-looking storefront; he had had to be done, and administer the shocks. good reasons: we need the money, we need
tionship of learning and punishment. The severe shock,” and finally the cryptic the learner complain of a possibly fatal the experience, we don't want to jeopar-
volunteers, who came from all walks of and presumably frightening label “XXX.” heart condition; he fixed it so the subject dize the relationship, we know it's wrong,
life, were each paid $4.50 and were shown For each wrong answer, the volunteer actually had to hold the learner's hand we have no choice. This would sound fami)-
the same setup when they arrived in teacher was to increase the shock level down on a “shock plate.” None of it made iar to Dr. Milgram. “Some subjects were
Milgram’s lab. by one notch. much difference. No matter what, about totally convinced of the wrongness of
half of the volunteers administered all
the shocks to the helpless learner.

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Head sinkage Is a variation of design. Itcanbe used asa place | a publication to make them | Spaces between elements
one of the four margins
ona page. in whichtto put display type stand apart from the advertis- must be carefully organized or
Sinkage is a consistent deep and small images, or it can be ing and feature story pages. visual confusion and ambigu-
space at the top of a page or increased on selected pages, ity result.
typically department pages, in

Column bottoms may be “scal- that touch and overlap look even more related. To create
loped," or made uneven at the design unity, spaces between elements should be equal
bottoms, to create an informal and consistent in a design.
structure (left, top), as in this Use white space on the perimeters of designs - in
spread from a booklet by outside margins, head sinkage, and column bottoms -
Michael Bierut. Column bottoms, where it is visible and where it will aid in defining the
like nght edges of text columns, design's personality.
may be uneven because readers Margins are the spaces around the perimeter of a
are not hindered by their un- page (above). They are the frame around the “live area."
eveness. But uneven column Wide outer margins may be used for attention-getting
tops and ragged /eft edges of graphics like small images and secondary display type.
text are disturbing because be- A gutter is the space between columns of type and “It's easier to copy someone
ginnings are not automatically between pages in a bound document. Space between else than to find out how to
findable. The lower example, columns should not be so narrow as to be mistaken avoid sounding like some-
edited from the original, spurns for a word space, yet not so wide that it becomes an one else.” Ornette Coleman
arrangements that ease scan- interruption. Text should generally have a one-pica (1930- )
ning and reading (ignore the column space. Rag right text may have a smaller col-
fact that the text Is actually umn space.
wrong reading: that Is purely Column bottoms may be left uneven (facing page,
a function of image manipula- top) if their unevenness looks purposeful. Uneven column
tion expediency). It presents vi- bottoms, also called scalloped columns, must differ in
sual noise for the reader which length by at least three lines so It doesn't look acciden-
is antithetical to the purpose tal. Having intentionally uneven white space at the
of design: to sluice information bottoms of columns is unobstrusive and makes editing
effortlessly off the page. significantly easier because there Is flexibility designed
into the system.

479
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Space can be filled in when Space attracts viewers, espe- Not only is space brought to Space arouses interest by
fullness is intentional. This an- cially when it is in an evocative the foreground in the shapes varying a design's fullness,
nouncement for a typographic shape, as are these eggs in an | of triangles (or tail-less arrows), creating a sense of liveliness
retrospective uses the structure otherwise unremarkably cen- the repetition of these shapes and discovery in a multi-page
and organization of a metal tered, silhouetted chicken. bestows a distinct “sparkling” | publication like this Spanish
type drawer, still in use in 1966. | gestalt to this poster. catalog.

Visual unity exists in elements 1|7 Space 81

that have a visual similarity - in, First among equals.
for example, elements that are
dasign componants
all vertical. Even the text has === he essence of taste is suitability. Divest
SS
2|7 Unity and gestalt 83
been set in vertical lines (left, the word of its prim and priggish impli- Creating agreement rather
top) in this 1951 magazine cations, and see how It expresses the than retaining contrast.
spread designed by Bradbury mysterious demand ofthe eye and mind
Thompson. Conceptual unity \s for symmetry, harmony, and order. - Edith 3|7 Point, line, and
expressed in a group of objects Wharton (1862-1937) plane 87
found,
for example, at the beach Perception of shapes.
(left, middle). A designer must Wolfgang Weingart, the Swiss designer and design edu-
often find waysto unify elements cator, said, "| am convinced that ... investigation of ele- 4|7 Scale and
that do not at first appear to mentary typographic exercises is a prerequisite for the dominance 89
share visual characteristics solution of complex typographic problems.” That point Relative size and the
(left, bottom). is equally valid with reference to design problems. focal point.
This chapter describes seven elementary design
components. Mastering them will produce exceptional 5|7 Hierarchy 89
results regardless of the design problem's complexity. Three levels of order are
optimal.
1|7 Space
Consider white space in relation to the other design 6|7 Balance 91
components of unity, gestalt, dominance, hierarchy, A state of equilibrium,
balance, and color as primus inter pares ("first among whether centered or not.
equals”). Stay conscious of the empty areas in a design
and use them to attract, arouse, and guide the viewer 7|7 Color 93
to become engaged. A functional tool to guide.

5 81
 A caption set flush
right gives it and
This caption !s set A caption set flush This caption is set Photo and caption its photo beneath
flush left, but you left might give it and flush left. A com align at the tops. a commonality.
can't tell to which its photo beneath mon edge is not They also share
photo it belongs. a commonality. yet shared. a common edge.

This caption is set =

flush night, giving it =
and its photo =
a common edge. = 3
This caption is set
flush left. A common
edge is shared by it
and its photo above.

2]
cistoruftcicitiustoutascuf cistoruftcicitiustoutascuf
OTCULaltiusISLOTAIURSF otculaltiusislotaiursfal
Sufolroctulaisniqiojtalocu sufoiroctulaifortiustalocu

Transmettez Transmettez horribles méprisable de mon

des maladies des au pickpocket qui m'a portefeuille.
maladies délesté
horribles - Quel est "our qui Vous prenez-
au pickpocket
méprisable qui
Qual et Je deeclon po
ouvi Eh! La queue sous}
pour le Louvre? Eh!
La queue la-bas.
vous? La jaconde,
c'est bleu par 14?

m'a délesté de

2.
mon portefeuille.

WOLFGANG WOLFGANG
AMADEUS AMADEUS
*MOZART

MOZART HERBERT
VON KARAJAN
and

HERBERT
the
BERLINER
PHILHARMONIKER
VON KARAJAN
and the SYMPHONY
NO.

BERLINER
PHILHARMONIKER

SYMPHONY
NO. 40

POWELL
SYMPHONY HALL -
7:30 PM

POWELL
SYMPHONY

7:30 PM
Random dots can be arranged By manipulattng the interac- Unity occurs when elements Unity is the most important
to convey a message, making tion of the individual parts, are made to look like they | aspect of design, and accommo-
their sum different from and you affect the cumulative belong together, not as though dations in specific relationships
more important than their indi- perception. they just happened to be | may be made in order to
vidual features. | placed randomly. achieve It.

Four ways of relating elements 2\7 Unity and gestalt

to achieve unity (examples in Unity in design exists when all elements are in agree-
the right column show more ef- ment. Unity requires that the whole design be more im-
fective treatments): portant than any subgroup or individual part. Unity is
@ Proximity Elements that therefore the goal of all design.
are physically close are seen as Similitude can be carried too far, resulting in a
related. The elements at left unified but dull design. Contrastingly, little similarity
are seen as two groups: cap- between elements will dazzle, but the design - and
tions and images. On the right, the message It Is trying to communicate - will not be
each caption Is joined to the unified. So, without unity a design becomes chaotic and “Laws for Words and Pictures,
single image which it describes. unreadable. But without variety, a design becomes inert, The Third Language:
@ Similarity Elements that lifeless, and uninteresting. A balance must be found 1] Through the picture we see
share similar position, size, col- between the two. reality, through the word we
or, shape, or texture are seen Gestalt is a German term coined at the Bauhaus understand It.
as related and grouped. that describes a design's wholeness: A design's unity Is 2] Through the photograph
© Repetition and rhythm more than the simple adalition of its parts. In other words, we believe the drawing,

Recurring position, size, color, each part of a design is affected by what surrounds it. through the drawing we
and use ofgraphic elements cre- Gestalt is the overall quality being described when you understand the photograph.”
ates unity. Rhythm is repetition say, ‘This design works.” Sven Lidman (1921- ), Swedish
with a focal point interruption. When we look at a building or a magazine spread lexicographer
@ Theme with variations or a Web page, we perceive it first as a whole because
Alteration of a basic theme re- the eye automatically seeks wholeness and unity. Rudolf
tains connectedness while pro- Arnheim, psychologist and art theoretician, writes in
viding interest. In this example Visual Thinking, "We see the various components, the
the theme Is “small all-caps shapes and colors and the relations between them... The
type set flush left.” observer receives the total image as the result of the
 al

Now that’s flying first class.

rN
Closure is illustrated in the ap- Gestalt principles are expres- is on the right. These may Modules are repeated ele-
parent randomness of these sed in thése Bauhaus designs. look tame by today's stan- | ments within a structure, like
flying birds. On closer inspec- Ladislav Sutnar's magazine dards, but they were part of a | these pixels in an enlarged
tion, we see that the birds are cover is on the left and Her- groundbreaking new way of part of an image.
arranged in the shape of the bert Bayer's 1926 poster for a perceiving space and relating
sponsor's trademark. colleague's sixtieth birthday elements in it.

Gestalt describes individual interaction among the components. This interaction ...is
elements relating as a unified | acomplex process, of which, as a rule, very little reaches
whole in these three ways: consciousness.” But, he says, there is an alternative way
@ Figure/ground The sala- of seeing. We can consciously pick out each individual el-
mander Is definitely in front of ement and notice its relationships to the other elements.
the white fish and gray back- Once the elements have been consciously collected, they
ground on the left. Ambiguity | are mentally combined into an integrated whole. The
between the salamander and first process is intuitive. The latter process Is intellectual
its surroundings Is enhanced in and considers a design's elements in sequence. Both
the fish on the right because it processes result in a complete perception by the viewer.
is the same color as the black These design ideas will help create unity:
background. @ Modularity: A module is an element used in a system.
@ Closure or completion An element that fits in a grid, like a pixel in an image,
Stable, complete forms are is a module. Modules can make design simpler by Si aibred Brendel *
é
static, as shown by the animals limiting size considerations. Re
WIENER
NER P,PHTRARMONIK BR
gw
in the mountains on the left. @ Figure/ground: The relationship of the subject to its
Unfinished forms intrigue and surrounding space. Confusing the foreground and If you listen to versions of the
involve the viewer because background is a visually stimulating technique. same movement of a piece of
they can be seen as whole. @ Closure (also called completion): The viewer's natu- orchestral music, you will hear
© Continuation The eye fol- ral tendency is to try to close gaps and complete nuances and subtle differences
lows a path, whether it Is real unfinished forms. Closure encourages active participa- between them, even though
or implied, as shown with the tion in the creation of the message. the same notes are being
head at the top of the page @ Continuation: The arrangement of forms so they are played. Their totality, their
separated from the body at “continuous” from one element to another, leading the wholeness, differs, and that is
the bottom of the page. eye across space. Continuation also can lead from one musical gestalt.
page to another.

5 85
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Official partner of the German ice hockey league

Ally
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Traditional (top) and percep- | More than a decorative pattern, | Both the artwork and the type Individual lines are thickened
tual (above) interpretations of these 1,300 points illustrate
the | in this Helsinki restaurant's by an electron beam in the
PLP. Points do become lines, number of bullets needed to kill | identity mark are unified by vir- cathode ray tube television
lines become planes, and planes | a single soldier in the Franco- tue of ther common use of the screens of the 1950s and
become points - depending on Prussian War (1870-1871). ine. This mark is an adapta- 1960s. This is also an example
their relative size. | tion of a photo of a neon sign. _ of
closure (page 85).

A missing tooth looks like a 3|7 Point, line, and plane

point - a dot - until you are Point, line, and plane are the three most basic shapes
very close. Then it becomes a in visual design. Ordinarily, we think of a point as a dot,
plane. And a string of words a line as a Stick, and a plane as a flat area. But those
becomes a line when its word- are layman's definitions. What really is a point, a line,
spacing is a little tighter than or a plane? The fun in working with PLP is in exploring
normal and when it Is sur- the overlap where each becomes the other (above left).
rounded by enough space. Redefining terms opens avenues of creativity that would
otherwise remain hidden.
An image can be reduced to its A point does not need to be a dot. A point can be
minimal essence, in this case perceived as a small plane or a short line. Another defini-
through the use of lines and tion of a point Is the smallest unit of marking, regardless
two-point perspective,to create of exact shape. By this definition, a fly from across the “The most difficult things to
a mark. This California hotel table could be perceived as a point, though it is not a design are the simplest.”
wanted to emphasize its archi- round shape. Raymond Loewy (1893-1986)
tecture's horizontality and to A line does not need to be a thin stroke. A line can
promote an art deco sensibility. be perceived as a narrow plane or a long point. Another
definition of a line is the trace ofa point in motion. By
this definition, a line is the precise record of where a pen
tip has moved across paper.
A plane does not need to be a rectangle. A plane
can be perceived as a wide line or a large point. Another
definition of a plane is the trace of a line in motion. By
this definition, a plane is the precise record of where
the long side of a stick of chalk has moved across a
blackboard.

5 87
 LP
my YOY a
MWahkldORE
de
BO
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Bh
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CTIVELY :
tim hawkinson mst

NUTerition. Built for Heart Health.

Planters NUT-nition Heart Healthy Mix helps promote heart health with a
lelicious mix of peanuts, almonds, pistachios, pecans, walnuts and hazelnuts
That's news you can love with all your you know what

©2007 KranFeoos
 Rb

WY,
fro
Wie Yors WANEDRET WRITERS GOK 33 ©

Hierarchy is best expressed making all things alike. How- plain thing, as shown in this spontaneity is in the service of
through proximity, grouping ever, if everything is different Wiley Miller comic. Though it is vibrancy - an attractive thing
less important things near then nothing Is different, and hard to discern the focal point | for a party to have. Note the
each other and putting one the only way to create a focal or the hierarchy in this poster, use of lettering using sewing
thing apart, and similarity, point is to make it the lone it is less significant because the ribbon - and expressing line.

Scale What Is "big"? Readers 4|7 Scale and dominance

perceive an element as being Scale, or relative size, can be used to attract atten-
“small” or “big” in comparison tion by making the focal point life-size or, for even more
to nearby elements (left, top) drama, larger-than-life size.
and to natural human size (left, Dominance |s closely related to contrast - there must
bottom, in an art catalog cover be contrast for one element to dominate another - and
and a print ad). Consciously to scale. Dominance Is created by contrasting size, posi-
reversing the sizes of elements tioning, color, style, or shape. Lack of dominance among
is arresting. a group of equally weighted elements produces boring
sameness. Readers must then discover their own entry
point, which Is a chore. Generally speaking, every design “We relate everything to our
q 4 should have a single primary visual element - a focal own [human] size.” Henry
point - which dominates the designscape. Moore (1898-1986). This
photo shows the Statue of
5|7 Hierarchy
ge DOTTEQe The best design moves the reader across the page
Liberty's toes and torch before
installation on Liberty Island,
in order of the type and images’ significance. Content NY in 1886. Their scale is re-
is best expressed as most important, least important, vealed by the human figure in
Dominance Manipulating sizes and all the remaining information made equivalently the near background.
so one element overwhelms important. Having more than three levels of informa-
another affects meaning, as tion is confusing because, while it may be clear what is
shown by these four steps most important and what is least important, it is rarely
(above). Consciously crafted clear what the significant difference is between middling
dominance can make an ordinary material. Our eyes respond to elements’ similarities, so
idea seem fresh. repeat the same shape (or color or type) to indicate to
the reader that elements correspond.

5 89
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Using page perimeter and bleed reads “But he cuts off his nose | Symmetrical balance looks Symmetry is evident in both
to emphasize the left edge of a to spite His face!" They are classical, though static, on this the construction of /a Tour
spread forces the reader to look equivalent in attention-getting | carefully crafted cover by Ca- Eiffel in 1888, and in its place-
back and forth from the missing weight in this ad designed by nadian designer Tony Sutton. ment. Seen centered behind it
nose to the headline, which Herb Lubalin. is the Palais du Trocadero, torn
down for the 1937 exposition.

“Overall balance," used to great 6|7 Balance

effect in Katie Schofield's digi- Balance, or equilibrium, is the state of equalized ten-
tal painting Transparent Alpha- sion. It is not necessarily a state of calm. There are three
bet #4, is similar to wallpaper. types of balance: symmetrical, asymmetrical, and overall.
It lacks both a focal point and Symmetrical, or formal, balance is vertically centered
hierarchy. Overall balance is of- and is visually equivalent on both sides. Symmetrical de-
ten used by retailers who want signs are static and evoke feelings of classicism, formality,
to pack maximum information and constancy.
into their advertising space. Asymmetrical, or informal, balance attracts atten- “The whole point of composing
tion and Is dynamic. Asymmetry requires a variety of is to make the result seem
element sizes and careful distribution of white space. inevitable.” Aaron Copland
Because they have more complex relationships, it takes (1900-1990), American com-
sensitivity and skill to handle elements asymmetrically. poser
Asymmetrical designs evoke feelings of modernism,
forcefulness, and vitality.
The third type of balance is overall, or mosaic, bal-
ance. This is usually the result of too much being forced
on a page. Overall balance lacks hierarchy and meaning-
ful contrast. It is easy for this type of organization to look
“noisy.” For that reason, some elements should be placed
elsewhere or deleted.
Balance is an important route to achieving unity In
design. If the various elements are seen to be in balance,
the design will look unified. It will make a single impression.
Ifadesign is out of balance, its constituent parts will be
more visible than the overall design.

5)S)]
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autumn russet BRING THE BEAUTIFUL, DURABLE COLORS OF NATURE HOME.

[
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aS rer ere

the beauty goes on”

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Full, rich colors help turn an Monochromatic colors are single Achromatic colors are black, | Color can be used to empha-
egg yolk into a sun. hues with shades (black added) | white, and grays. This is a full- size parts of an image, just as,
and tints (white added). Both color photo, not a grayscale for example, type size or type
shades and tints reduce satura- | image, but its saturation has | weight can emphasize part of
tion, the intesity of a hue. been reduced. a headline. Here it is used to

| differentiate “happy” and “sad.”

Overwhelming golden hues and 7|7 Color

shades (hue + black) plant the Color use is partly artistry, partly science, but mostly
emotional reaction that a wall common sense. Like good writing and good design, good
paint can have more meaning color is a raw material to be used strategically for a clear
than just being a pretty color. purpose. Color contrast has the same potential for com-
The missing square in the hay- municating hierarchy as typeface, type weight and size,
bale corresponds to the color or placement contrasts. Random application or changes
swatch in the lower left corner in color work against the reader's understanding just as
(using continuation) to finalize do any random changes In design.
the point. As a functional way to guide the reader, color:
@ Aids organization, establishing character through
consistency. Develop a color strategy. Limit color use
BLACK BLUE ORANGE as you limit font use to communicate real differences.
PINK YELLOW GREEN
CPlan color use from the start. If it is added on at the
LAVENDER RED GRAY “When in doubt, make it red.

end, its use is most likely to be only cosmetic. Use

BROWN PURPLE TEAL If you're still in doubt, make

ORANGE BLACK BLUE color consistently. Along with typography and spacing it big: lvan Chermayeff
YELLOW GREEN PINK attributes, a unique color scheme can be an identifying (1932- J
GRAY LAVENDER RED characteristic.
TEAL PURPLE BROWN M@ Gives emphasis, ranking elements in order of impor-
Read the colors shown tn the tance. Regardless of ink color used, every element has a
artwork above, not the words color - or perceptual emphasis - that must be considered.
that are printed. Notice how Type itself is said to have “color,” or gray value, that can
difficult this is: words are pow- be used to create hierarchy. Darker type Is seen first,
erful, color is subtle. so display type Is usually bolder and bigger. LiColor
highlights elements of importance. You read this first,
didn't you? C1Color codes information, simplifying

3)Ss:
07X0

@ Primary colors are equidistant on the color wheel:

yellow, blue, and red.
Wi Secondary colors are mixtures of the primary colors:
green, violet, and orange.
Mi Tertiary colors are between primary and secondary colors:
Q0LL yellow-green, blue-green, blue-violet, red-violet, orange-
W@ Hues are colors like orange, yellow, and blue-green. red, and yellow-orange.

W@ Shades are made by MiTints are made by adding H Monochromatic color is

adding black, which white, which reduces a single hue with tints and
reduces saturation. saturation. shades.
Achromatic colors are black,
Wi Value is the darkness or lightness of a color: both shades and tints.
white, and grays, which can
@ Saturation or chroma or intensity is the brightness or dullness of be made by mixing comple-
a color. mentary colors.

@ Complementary colors are @ Analogous colors are next @ Triadic harmonies are three
opposite each other on the to each other on the color colors that are equidistant on
color wheel. wheel. the color wheel.
 peRESS EXCELS BN ACTRESS EXCELS
NisadPAULO HIN SAO PAULO
sna city of 12 million, there are

Color is part of a communi- Use less color (right) rather won't. Color should be used tn | Printed color is affected by
cation language. Marshall | than more (left) or your read- the same way that type size Is |"ink holdout," the ability of pa-
McLuhan’s “hierarchy of com- ers will have a colorful mess to used: to emphasize importance, | per to keep ink on the surface.
munication” puts color at the decipher - which they probably not decorate the page. Coated papers have “high ink
bottom, functioning in the holdout” and make photos
viewer's subconscious. look much sharper.

The difference between RGB complex data. L1Color's highlighting benefit is quickly Colors have particular asso-
and CMYK Additive color, as exhausted and devolves into a colorful mess. LJPeople ciations, according to Swiss
from the sun or a com- gravitate to whatever looks different on a page. psychologist Dr. Max Luescher.
puter monitor, becomes @ Provides direction, relating parts to each other. Warm These general associations
lighter as more color colors move elements forward while cool colors move ele- must be tempered by context
is added. The primary ments back, so a warm tone should be given to display type and application.
colors of the visible spec- that is in front of an image to further the spatial illusion. BLUE DIGNIFIEL

trum are red, green, and The three perceptual attributes of color are hue GREEN PERSISTENT

biue-violet (RGB). White Is (redness, blueness, greenness), value (shade, darkness/ RED ASSERTIVE

made by adding all three. Com- lightness), and saturation (intensity, brightness, chroma). YELLOW
bining two primaries produces Value and saturation are generally more useful than hue BROWN PASSIVE

a secondary: red and blue- in developing color harmony, which Is more valuable than VIOLET mepitative

violet produce magenta. Green color variety. While hue categorizes information and BLACK SURRENDER

and blue-violet produce cyan. makes it recognizable, value (darkness) makes it stand EBB
BRERE
GRAY

Green and red produce yellow. out against the background, and saturation (brightness) A practical guide Is to use
Subtractive color, as in gives it brilliance or dullness. color’s relative temperature to
printing inks, become Black type on white paper has the most contrast make elements come forward
darker as more color is possible. Any color applied to type will make the type or recede. All colors are rela-
added. Subtractive colors weaker (chart labels at right). Counteract this effect by tively warm or cool, depending

are cyan (C), magenta increasing type weight from regular to semibold, and on what they are next to. Red
(M), yellow (Y), and increase type size for optical equivalency. andy 41" pop forward, which
black (K). Subtractive colors are Everyone perceives light and color differently and with is why they are used in adver-

balanced to make the three their own subconscious associations. But all readers re- tising. Blue and green recede.

additive colors: cyan + yellow = spond to usefulness of information. Analyze and define
green, etc. Black is made by what's useful to the reader. Then point out its potential
adding all three. value with color - and the six other design components.

5299
 Raum braucht der Space is what
Mensch
man needs

Man longs fordistance and

freedom. But mostly he Is
wedged in: on the street, on
vacation, at work, in his
living environment. That is
Der Mensch sehnt sich nach Welte und why it ismore important
Freiheit. Doch meist ist er eingekeilt: aul der
than ever today to getsome
StraBe, in den Ferien, bel der Arbelt, in
seiner Wohnsitvation. Deshalb ist es heute personal space. Whether it
wichtiger denn je, sich auch privaten is the house or the garden
or a spacious condo apart-
Freiraum zu schaifen. Ob im Haus mit

Ganen oder einer gertumigen Eigentums-

wohnung: Als Hypothekenbank kénnen ment: as a mortgage bank
wir Ihnen dabei helfen, sich den Raum
zu scholfen, den Sie sich wlnschen
we can help you create the
Munchen, Telefon: 089/5112-371/287. space you wish for.

SUDDEUTSCHE
eBODENCREDITBANK
South German
Bodencreditbank
Monchen erinDorurund Orwadien Obseetdor ErfurtFrankturyMain FreiburgHamburg Hannover LaipaipSuangart
 PERFECT FOR:
ORG WHO PREFER THEIR MEAT.
CELLOPHANE,

mmaraeeei e Oommen
6.207 Hunting Kni)

‘SoulTindinthedelicase

Join elements to make a uni- Three of the seven design | Three of the seven design Three of the seven design com-
fled design. At left is a naive components In use here: space components in use here: space | ponents in use here: space (dedi-
drawing ofeyes, ears, and mouth (surrounding knife), unity (ev- (surrounding the words), unity | cated to subhead and author
onahead.Ontheright,
the head erything is horizontal and cen- | (every letter except one is hair area), point line plane (OBSES-
in its entirety is more important tered), and color (warm wood parted on a head), and scale SION is made of dots), and
than its individual elements. tone used in headline). | (LIVING is de-emphasized). color (entirely monochromatic).

The seven design components -

low to Use tne s 9791) Think of shapes 101
Separate from meaning,
dasiga compoon BES
dominance, gestalt, balance, thre
hierarchy, color, space, and every design element has
unity - are sliding switches, define beauty to be a harmony of all the shape.
like a lamp's dimmer, that help parts...fitted together with such propor-
achieve visible, value-added tion and connection, that nothing could Design Is a process that
design. be added, diminished or altered, but for the evolves its solution 101
worse. - Leon Battista Alberti (1406-1472) It takes repeated passes
All parts must fit together. This to recognize unresolved
German bank ad uses space, ab- While you choose to have more or less of each of the relationships in a design.
straction, dominance, hierarchy, seven design components, it isn't possible to select just
and color to excellent effect, one and not use the others. They come bundled as a Diagrams 105
that Is, to illustrate the very semi-flexible group. An illustration of relation-
concept of the ad. Good design necessitates that one element domi- ships, not numbers.
nate the others in the context of a cumulative perception,
Simplify by thinking of design or gestalt. Choosing that emphasis suggests a design's
elements as shapes. Designers starting point. Balance one large or bright element
learn how to see abstractly by against a few smaller or muted ones.
replacing naturalistic elements Function in design is paramount. What is the mes-
with points, lines, and planes. sage? Choose pictures that tell the story. Motivate the
reader by arranging the elements in a logical hierarchy.
Use color to show what is important. The top left cor-
ner of every page or spread Is a valuable starting point
because readers look there first. Exploit the reader's
natural habits.
The purpose of design is emphatically not to fill up

NORTHFIELD PUBLIC LIBRAR’ 6 97

210 Washington Stree’
Northfield, MN 5505”
 0 mam ea casa do teatro apresentam

Espetaculo inspirado na
obra de Clarice Lispector

Direcao: Ulisses Cohn * Elenco: Cia Delas

Domingos as 11:00h
| Ie Ae abst mam
iL 4 ope 6 auditério Lina Bo Bardi
wee po) Gh x Parque do Ibirapuera
Shapes in the poster on the contrast to the imagery. Four type on the poster - are visu- | Intersecting shapes of solids
facing page have been ex- of the lines of type in the main | ally aligned on the right, but and voids, some of the human
|

tracted and simplified, then re- block, the poster's secondary poke out equally on the left. head, are used as displays for
versed. This shows every com- type, are justified. The remain- | The tertiary lines of type near | eyeglass frames, giving them
bination of figure and ground. ing two lines of type - the title | the bottom are justified, with | countertop visibility.
The type is structured in of the play and the primary | one line centered.

This poster for a Brazilian play all the space. Don't let overabundance make the informa-
called “Semi-truth” features tion in your design impenetrable. As Steven Ledbetter,
a chicken, a dog, and a cock- music historian and critic, wrote, "Beethoven's control of
roach. The chicken and dog relative tension and relative relaxation throughout the
have been given simplified gigantic architectural span [of the first movement of his
shapes and filled with leafy Symphony No.3] remains one of the most awe-inspiring
texture, adding meaning and accomplishments in the history of music.”
making the bright red back- Organize elements so all parts fit together to make
ground come into play as an unity, or an integrated whole. Find design unity in the
equal design element, especially elements’ commonalities. Organize elements by their “At the definition stage ofa
in the narrow zigzag space shared subject matter, shape, or color. project, we are less concerned

between (or that defines) their Readers operate subconsciously on these design with what it will look like and
mouths. truisms: more concerned with what it
@ We read from left to right. will be.” John Ormsbee Simonds,
@ We start at the top and work down the page. Landscape Architecture
M@ Pages in a publication or Web site are related.
H Closeness connects while distance separates.
@ Big and dark Is more important; small and light is less
Four handlettered characters important.
are cut and moved into posi- @ Fullness should be balanced with emptiness.
tion, then photographed. This M@ Everything has a shape, including emptiness.
is a process of development Designers have different sensibilities and preferenc-
that affects the outcome dif- es, which is why five designers given the same pictures
ferently than if, say, the letters and copy would create five different designs. But given
had been drawn In one con- a single message to get across, we expect they would
tinuous stroke. develop comparable or equivalent solutions.

6 99
t
Henry Moore, the English | for example, perceive an egg To take apparent ownership | Interrupt a thick white border
sculptor, said, “The sensitive as a simple solid shape, quite of neighboring space, as in a | on each side, co-opting the
observer of [design] must feel apart from its significance as partial page ad, and to make continuing space beyond your
shape simply as shape, not as food, or from the idea that it space look bigger than it Is, | perimeter. This technique is
a description or idea. He must, | will become a bird.” create a buffer zone that uses | illustrated by artist Summer Jel-
surrounding white space. lison in her Glass Owl.

Henry Moore's Reclining Figure Think of shapes

No.3 (Two-piece), 1961 is 94 Design is, among other things, the arrangement of
inches long. The abstracted shapes. Experiment by mentally setting aside the mean-
halves are separated by a ing of headlines, copy, visuals, and other elements and
pronounced intrusive area of treat them as if they were purely form.
emptiness (see above) which Shapes exist in the realm of figure and ground only.
changes with the viewer's Try overlapping and clustering shapes to create visually “..A building is not designed
perspective. interesting concentrations. To simplify a design, reduce the by putting together a series
total number of shapes byjoining two or three at a time. of rooms. Any (good) build-
Letterforms are shapes that can be exploited tn ing has an underlying design
display typography and logo design. It is necessary concept that binds all the
Top row Students learn to see to see the form of letters before complex typographic parts together into a whole.
letters as shapes. Each of these ideas can be developed (facing page, bottom). Without Without this it is not archi-
studies uses a single letter. exploiting letters’ individual forms and the shape ofthe tecture.” Edmund N. Bacon
Bottom row A letterform and space around and within letterforms, the only option is (1910-2005)
textures are combined ona mere typesetting in groups of letters and words.
grid. Attention to relating unre- White space, within type and around columns and
lated elements and controlling pictures, must be considered as a shape. Push it in chunks,
white space are emphasized. for example, to the perimeter or to the page bottom.

Design is a process that evolves its solution

Uncovering and recognizing design relationships
takes time. It's very like the experience of walking into
a dark room: It takes time to accustom our eyes to
the materials at hand. Design must evolve from basic
relationships to more complex, more refined relation-

6 101
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When Forgiving Is Hard

28 Monday, November 25, 2004
When Forgiving Is Hard When forgiving is hard
Read Psalm 19:7—14 ‘
28 Monday, November 25, 2004
Monday, November 25, 2004 Forgive us our debts, as we forgive our debtors.
Read Psalm 19:7—14 — Matthew 6:12 (KJV) Read Psalm 19:7-14

Porgive usus ou
Forgive our debts, as we CARO
forgive r
de debtors.6:12 (KJV)
eee ourMatthew ; Forgive us our debts, as we
forgive our debtors
Eac H time we say the Lord’s prayer, we repeat that Matthew 0:12 (KJV)
request to forgive; but how often are we called upon to
really act on that simple plea?
we repeat oS
Eacu time we say the Lord’s prayer, My mother was recently attacked in her home in the
called upon to really
request to forgive; but how o ften are we middle of the night. Though she was not seriously
act on that simple plea?
injured, she was roughed up and robbed. When I heard
d in her eee in i
My mother was recently attacke about what had happened, my immediate reaction was \ ; ecently attacked in her home
serious y inju F2 in the
middle of the night. Though she was not one of rage as I thought of her fear and humiliation. middle of the night. T hough
she was not seriously injure
] heard oy tie
she was roughed up and robbed. When Several days later, however, the thought came to me that she was roughed up and
robbed, When | heard
d
oF eae
had happened, my immediate reaction setae as Christians we are charged to forgive those who act what had happened, my im about
S vera oa ater, mediate reaction was one
thought of her fear and humiliation. against us, ue as I thought of her fear of
Christians we are
however, the thought came to me that as Sometimes praying for our enemies is hard, almost ater, however, the thought
and humiliation. Several d
ays
us.
charged to forgive those who act against impossible; but the Lord did so and wants us to do the
came to me that as Ch nistians
we are charged to fo give
is hard, genes those W ho act against us
Sometimes praying for our enemies same. Each day, I concentrate on offering up these Sometimes praying for our
us to ee ae enemies is
impossible; but the Lord did so and wants unknown assailants, praying also that the feelings in my impossible; but the Lord S
up these UES A did so oe
Each day, I concentrate on offering heart will match the words on my lips. one
in my heart w1 same. Each day, | conce
assailants, praying also that the feelings ntrate on offerine ee
e
unknown assailants, prayi
match the words on my lips. PRAYER: Forgiving God, please grant that the meditations of ng also that the eles in
our heart and the words on our lips will be acceptable in Your heart will match the words -
on my lips eae
that the meditations olen sight. In Christ is name. Amen.
PRAYER: Forgiving God, please grant e 2 jin Your ¥ sigh
x et Praye
r r Forgi ving God, please or. ant that
1heart and
; the words on our lips
i will
i be acceptabl
ccepte
the meditations
THOUGHT FOR THE DAY of our heart and the words on ;
In Christ 's name. Amen. o ur lips will be acceptable
If we do not feel forgiving, we can pray that our feelings in Your sight. In Christ’s
n ame. Amen,
will change
THOUGHT FOR THE DAY Thought for the h day If we do not feel
that our feelings for: giving, we can
If we do not feel forgiving, we can pray luck Eudy (Georgia) pray that our feelings will
will change.
¢ hange.
Tuck Eudy (Georgia) PRAYER FOCUS: Those who have wronged us Tuck Eudy Georgia
Prayer focus Those ho have wronged us
28 PRAYER FOCUS: Those who have wronged us nil
 OrTROMM TROMM TROMM
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TROmMMmM TROmMm TROMM

TROMM
Design solutions must evolve. evident, and abstraction can applying texture to the planes, Logos take time and multiple
Solutions grow from familiarity be manipulated. This exercise and developing dynamic com- “passes” to resolve. First studies
with the materials at hand. As requires identifying elements positions with the results. The explore a variety of directions,
familiarity grows, the process in a grayscale image on sheets process determines the outcome: second studies explore one
becomes more interesting, of tracing paper, converting elements can't be used that direction deeply, and the final
design relationships become them into geometric variations, haven't already been identified. study is completely unrelated.

A step-by-step increase in ships (facing page, top). Start the process by becoming
design contrasts causes new intimately familiar with the content. Read every word of
relationships to be developed. the text. Understand what is being said. Understand, too,
This exercise extracts the con- why It was written and why it is being published. Then
tent from a package, applies find out who is going to read it and what the reader's
it to a grid, and adds arbitrary motivation and interest is. Finally, develop a strategy for
treatments, like “circularity” expressing it to the reader's greatest advantage.
and “depth.” The final studies
are executed in color.
When Monday,
When Monday,
forgiving November 25,
forgiving November 25
is hard 2004 ]
28 is hard 2004
|
Read Psalm 19:7-14
Design evolution takes time. | we re-
aa Read Psalm 19:7-14
Forgive us our FACH time we say the Lord's prayer, 0 "give US "
Each time we say the Lord’s prayer, we re-
These five pages show the debts, as we peat that request to forgive; but how often
forgive our are we called upon to really act on that simple our debts, Peat that request to forgive; but how often
ae el are
ea? we
development of a redesign for
called upon
debtors. plea?
to really acton that simple
her
Matthew ae mother was recently attacked in
home in the middle of the night. Though she forgive our My mother was recently attack
ed in her
Upper Room magazine. 6:12 (KJV)
was not seriously injured, she was roughed
home in the middle of the night.
Though she
debtors.
hat
up and robbed. When | heard about WwW
Was not seriously injure
d, she was roughed
@ Original !ayout evolved had happened, my immediate reaction was Matthew 6:12 Wv
up and robbed. When I heard about what
and had happened, my imme
one of rage as I thought of her fear diate reaction was
over decades into a flavorless, humiliation. Several days later, however,
the one of rage as | thought of
her fear and
are humiliation. Several days later,
thought came to me that as Christians we however, the
random presentation. c harged to forgive those who
act against us. thought came to me that as Christians
we are
charged to forgive those who
Sometimes praying for our enemies 1s hard, act against us
@ Align paragraphs on the left. almost impossible; but the Lord did so and
Sometimes praying for our enemie
:s is hard,
wants us to do the same. Each day, ] almost impossible; but the Lord did
so and
wants us to do the same.
®) Add bold, sans serif contrast. | concentrate on offering up these unknown Each day, I
concentrate on offering up these
assailants, praying also that the feelin t=)
gs in
unknown
@ Add column width and type my heart will match the words on my lips. assailants, praying also that
my heart will match
the feelings in
the the
Prayer Forgiving God, please grant that
words on my lips.

placement contrast; add map. meditations of our beart and the words on
our Prayer Forgiving God, p
lease grant that the
lips will be acceptable in Your sight. In Christ's
meditations of our heart and the words
on our
© Change font assignments; Tuck Eudy name. Amen. lips will be acc eptable in Your sight. In
Christ's
Georgia Tuck Eudy name. Amen
,
adjust line spacing and type Thought for the day [{ we do not feel forgiving Georgia
reece
pray that our feelings will change. Thought for the day If we do not
feel forgiving,
we can
fotos we can pray that our feelings
will change
sizes; add rules in display type. Prayer focus [hose who have wronged
us

p> Prayer focus Those who have

wronged us

‘5 6 103
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Design requires ROR Zones which makesthe name memo- A diagram may be a pictorial
thinking - trying various dif- rable, arfd the adjustment of representation of information,
ferent ideas, as well as vertical the "r" to align with the cross- maps, line graphs, bar charts,
thinking - selecting one idea bar of the “B." At bottom right engineering blueprints, and
and digging deeper. The crucial is the final mark by Danish architectural sketches, as
move is the removal of the “e,” designer Mads Burcharth. shown here.

There are so many ways of Design evolution should proceed on two levels
making diagrams, it is impos- simultaneously. One is to seek relationships of meaning,
sible to show in a single image. which appeals to the reader's need for understanding.
But this one, an “extension The other is to seek relationships of form, which appeals
drawing" from a 1958 archi- to the reader's need for attraction. Balancing these two
tectural magazine makes the ensures effective visual communication.
point clearly: it shows both the Design Is spoiled more often by the designer being Four spreads diagram the hu-
“what" and the “how,” so each overly cautious rather than being overly bold. Dare to man body in this Brazilian fea-
is faster to analyze and easier be bold. ture story. A diagram may be a
to understand than if the pie chart, a function graph, an
source photo and the illustra- Diagrams exploded view, map, or shapes
tion were side by side. A diagram is a simplified, schematic drawing that connected by lines or arrows.
describes the workings of the subject. This can be a chart,
a plan, or a map. “Diagram,” like “illustration,” is a gen-
eral term that can mean a broad range of executions. A
diagram Is different than an illustration because It must
describe meaning. A diagram may be a chart, yet it Is
different than a chart because it describes qualitative
os ree te one ge\| fee -
matter, that is, relationships, while a chart exclusively
This spread, from a German descibes quantitative, or numerical, matter.
book on biological compari- A diagram uses all seven design components just “Design is about making order
sons, uses numbers, illustra- as any design does. A diagram, however, uses them on out of chaos.” Cipe Pineles
tions, maps and many brief a finite, micro level. A Web site or publication uses the (1908-1991)

captions to tell its story. This seven design components on a broad, macro level. But
book Is, in essence, one con- the components remain the same and interact the same,
tinuous diagram. regardless of application or platform.

6 105
“Next to architecture, (type)
gives the most characteristic
portrait of a period and the
most severe testimony of a
nation’s intellectual status.”
Peter Behrens (1868-1940)
Section Three
Page Architecture

7 The page as visual structure 109

» Architecture and design 111
Chains of thought 119
Grids: freedom in structure 121

8 Connecting elements and pages 125

Space connects pages 127
* Space emphasizes direction 131
_. Information mapping and wayfinding 133

Three-dimensional space 137

Two- and three-dimensional space 139
é Layers and transparency 141
\ publication is both two- and three-dimensional 143
xture and pattern 145
 Sa<ats
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SCHRIFT
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{
DOPPELHEFT 8/9
BERLIN
OVEMBER 193
Purple Robe and Anemones, Invisible substructure, like a Calligraphy and architecture and a Mexican resort hotel.
painted in 1937, shows Henri chicken’ skeleton, defines use active positive and nega- Both purposefully balance
Matisse's comprehensive use where the visible pieces go. tive space. Shown are asample | occupied and unoccupied
of space: not much is left Design uses a grid that dictates | of 1575 Turkish calligraphy space to create artistic tension.
empty, creating a rich viewing where visible elements will go.
experience.

Architecture and design share

Tine page as Architecture
visual structure. At top left, and design 111
symmetry Is shown in Eliel and
wisvial Stiracinre Architects use substructure
Eero Saarinen's 1941 Berkshire to sculpt solids and voids
Opera Shed and, at top right, a == he whole arrangement of my picture Is in three dimensions at
Chinese newspaper ad echoes expressive. The place occupied by the human scale.
a
some of the same shapes. At E figures or objects, the empty spaces
far left, asymmetry in Jaipur's around them, the proportions, everything Chains of thought 119
Samrat Yantra, an eighteenth- plays a part. - Henri Matisse (1869-1954), Sequential perception,
century astronomical observa- Notes d'un peintre like links in a chain,
tion structure, and, near left, builds a visual message
in a 1931 magazine cover by A chicken’s skeleton. Stud and beam construction. The One impression at a time.
Gyorgy Kepes. design grid. Each of these is an unseen substructure on
which visible, external parts are draped and attached. Grids: freedom in
The chicken’s skeleton is covered, for example, by muscles, structure 121
skin, and feathers. The modern house has wallboard, Defining space before
flooring, and shingles. A design has words and pictures. putting elements into it
In each case, the substructure determines the placement causes the elements to
ofthe visible elements. A designer's substructure is called relate in a particular way
a grid, and it is the “bones” of a design. and ensures some space
Harry Sternberg, American painter, printmaker, and is left open.
educator, wrote, “In architecture the structural beams
support the walls, floors, piping, and wiring, as well as
the facade of the building. In any graphic work ...compo-
sition is the basic structure which supports all the other
elements involved.”

7 109
 Everything has an end,
except a wurst.
taste of flora and
of vintage! That draught of vin- the country green,
hath been cooid tage! That hath dance andsing the
a long age in the been cool’d a long Provencal song,
deep-delved earth, age in fhe deep- and so sunburnt
tasting of flora dance and Pro- mirth for a bucket
and the country vencal song, and full of the warm,
so Sunburnt beak blushful draught
beaker full of the full of the warm, of vintage that hath
warm, blushful country green fo been cool’d a long
age in the deep-
delved earth, tast-
ing of flora and
the country green,
so Sunburnt mirth!
O for a beaker
full of the warm,
warm South.

That
has
Except a wurst. O, for draught of vin-
tage! That hath been cool’d a long age in
the deep-delved earth, tasting of flora
and the country green, dance and Pro-
O, for draught of vintage! That hath been cool’d a long
vencal song, and So Sunburnt mirth! O age in the deep-delved earth, tasting
for the warm, warm South. That has two. fo) edlo)ar Melalemsalemuelelalsamuccemerleac
lao ace lucselertl melee lelemempraleleigels
Gaus TAU MA ELE oR mirth! O for. a beaker full of the warm,
blushful south:GUSTAV.MAHLER
 {ou

Rayonnant architecture (“radi- interior spacé became more Architectural voids are hand- Brooklyn bridge Is on the right,
ant,” in reference to the circular valued than the walls of the somely lampooned in this ad showing the actual arches in
stained glass windows that ra- building itself, was developed for Absolut vodka. The real its towers.
diate from a central point), in in France in 1231. This is La
which illuminated, weightless Sainte-Chapelle in Paris.

Castles (facing page, top) illus- Architecture and design

trate layout complexity (facing A completely new way of realizing large-scale archi-
nage, bottom): tecture occurred in the mid-thirteenth century. Construc-
tion of the church of St.-Denis, near Paris, had stopped
Primitive = Elementary about eighty years earlier when the abbot who began
castle page
architecture
the building died. When the church's new design was
proposed in 1231, it was the first instance of Rayonnant
STANDARD —
("radiant") architecture, in which radiating patterns of “Architecture is the beautiful
Regular = Intermediate
castle page cut-glass windows, of which there were many, flooded and serious game of space.”
architecture
the building with light. It was a decision to have empty Willem Dudok (1884-1974),
space within the cathedral be more important than the architect
Elaborate = Intricate
castle page
stone walls that surrounded the space.
architecture There has always been a similiarity between archi-
tecture and design in thinking style and problem-solving
approach. Hassan Massoudy said in his book Calligra-
Layout complexity is deter- phy, "An architectural design defines a living space; the
mined by the number of design space between the walls is as real and as significant as
relationships it contains. Too the walls themselves. In [graphic design] the value of a
many relationships - a design space derives from its relationship with the [elements]
which is said to be “busy” - can that surround it and vice versa.” Sean Morrison, in A
equal no relationships. Guide to Type Design, says, “Type designers are closer to
architects than to artists. The architect must produce a
building that is structurally sound and efficient but that
is also visually pleasing and comfortable to live and work
in." Surely, a designer's work must conform to these same
requirements to be useful.

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 Exterior protection is built at Design volume is created when Design volume is emphasized | A central design void is used as
the very same time as interior elements are joined into a in this Web site. Figures are | a staging area in Visual Acous-
space |s created in this Inuit figure, as in this car and quota- placed on top of figures with the tics, a Flash-based program that
snow shelter. tion marks. Space is relegated only emptiness being the area “paints” sound. Settings are in a
to the background, though it reserved for the page's title. | dedicated perimeter frame.
has been carefully cropped.

“Architectural space can be Architectural volumes are created as either solid

fluid or static; additive or (space displaced by mass), or void (space contained
divisive; positive or negative; or enclosed by planes). Solid volumes are buildings: St.
colorful or monochromatic.” Mawes Castle, England and Seafair, a Newport, Rhode
- Kohei Ishikawa. Solid space, Island, mansion. Voids are spaces defined by solids: the
or volume, is shown in two space between the towers of the world’s tallest buildings,
buildings (facing page, top), the Kuala Lumpur City Centre, Malaysia*; the interior of
and architectural emptiness, or I| Duomo, Siena; and the Piazza Cisterna, San Gimignano,
voids (facing page, near left). Italy (all on the facing page).
A building's purpose and size are the architect's first
*Cesar Pelli, architect of City considerations. Similarly, determining a document's pur- “Architecture in general is
Centre (facing page, bottom pose and its page size are the first decisions a designer frozen music.” Friedrich
left), says, “The space between must make. The page's size and its shape create reader von Schelling (1775-1854),
the buildings is the most impor- expectations: a square or horizontal page immediately Philosophie der Kunst
tant part of this design. These signals an unusual document. A standard 8'4" x11" verti-
are the only skyscrapers that cal page (or European A4) must overcome its size and
emphasize negative space. It shape to be recognized as remarkable. The designer
is a portal to the sky, to the must also weigh technical issues: economies of printing
clouds, to God.” (a really great two-color job is far better than an inferior
four-color job) and paper buying (trimming excess paper
to get an unusual shape costs money), binding, standard
envelope sizes, size requirements imposed by the post
office, postage, and certainly what size fits best on the
computer screen at full-size and full-screen view.
According to architect Kohei Ishikawa, “The place-
ment of windows and doors defines the function of

Vanlit'S
 nese
Solid and void meet at Petra | is made through the Siq (left), Findability in design, as in archi- | Box structure Is a useful attri-
(Greek for “rock"), a rock-cut a narrow slit in the cliff walls. tecture, is a matter of putting bute of a Web site, forcing
city in the cliffs in Jordan. Con- The Khazneh (right) is the first similar elements In precisely con- consistencies in size, color, and
structed in 100 8c by the Naba- of several rock-cut buildings in sistent places, like these parking position. This puts users’ aware-
taeans, it has been named a the city and, at forty meters numbers in a garage, which ness on the parts that change,
World Heritage Site. Entrance high, the most impressive. still allows for color variation. in this case, the products.

Rembrandt's David and Saul rooms.” The page size and the layout signal the type of
(cl658) shows a viewing pro- document the reader is holding. What makes a bound
gression from King Saul, occu- document a book versus a magazine? What distinguishes
pying the entire left half of the a newsletter from a newspaper? What makes a single-
canvas, to David, whose hands sheet document a poster rather than a flyer? Such distinc-
pluck the strings of a harp. The tions are trivial if the content is routed into the reader's
central darkness forces us to mind effortlessly and memorably.
perceive these two parts se- Repeated design elements must be findable - placed
quentially, then mentally unite in consistent, expected places - just as architectural
them in a complete image. details, like light switches, are always placed at the
same height from the floor, where they can be found “A good solution, in addition
The Church of St George in in a darkened room. Create typographic “styles,” that to being right, should have
Lalibela, northern Ethiopia, is is, set type standards, to organize areas of white space the potential for longevity.
a monolithic structure, carved between type elements. Visual consistency depends Yet | don't think one can
as a Single form from the solid on typographic style, adhering to a grid and column design for permanence. One
volcanic rock in this hillside. This structure, and margins. designs for function, for use-

is one of thirteen neighboring Taking a large room and breaking it into small cu- fulness, rightness, beauty. Per-
"rock cut" churches, all built in bicles is one way of breaking up space. Using boxes to manence Is up to God.” Paul
the 12th and 13th centuries. organize graphic space is common. Boxing can separate Rand (1914-1996), designer
Entrance is through a ramped one part ofa story from the rest to make it appear either and typographer
tunnel, the dark rectangle to the more valuable, less valuable, or just different. Boxing can
left of the church in this aerial break the page into different shades of gray by putting
photo. Every feature is carved separate stories in different boxes. And boxing can be
from the original stone, including a crutch for the designer, who doesn't have to place
the highly decorated interior multi-level stories next to each other, but instead nice,
columns. well-behaved, hard-edged boxes side by side. The cost

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The page on the left is static, the right, with all the same ele- | Boxes can be dynamic - even as Each line of type is embedded
,

caused in large measure by the ments, is more vibrant because they organize space - if they are | into an interlocking lattice,
overuse of boxes which sepa- space Is allowed to infiltrate | asymmetrical to help emphasize contrasting the dynamic figure
rate elements at the expense and interact with the type and importances. Use consistent with structure. The lattice also
of overall unity. The page on imagery. interspaces and type sizes to creates static foreground, past
| confirm the hierarchy. which the dancer is flying.

of relying on boxes to separate different stories or parts

of stories Is injury to the page as a totality. Boxitis Is
especially easy to succumb to in software, where boxes
are so easy to make. It is better to use judicious white
space to separate - or connect - stories. The essence of
a box Is creating difference and separation, which Is anti-
design unity. The risk is that separation, while delineating
honest differences in content, will rip the overall design
into competing areas of attention. Barriers of whiteness
act exactly the same way as barriers of blackness, but
without adding visual busyness and clutter. “Visuals/verbals are a mosaic
If boxes must be used, try to break a worthy part of synthesizing words and
Boxes organize the title page of an image out of a box, or delete one or two of the box's shapes whose combination
Otto Brunfels’ (c1488-1534) sides and set the type flush left to imply a vertical left leads to interpretation and
Herbarum vivae eicones, or edge (above left). understanding.” Steven
"Living Plant Images.” This three- James T. Maher, author and arts critic, wrote, “Part McCaffery (1947- ), visual and
volume series featured descrip- of the intuitive gift of any first-rate artist Is the continu- performance poet
tions and woodcut illustrations ous process of editing, of cutting, of revealing.” Design,
of local plants drawn from life - like architecture, painting, and music, hinges on know-
a new technique - by Hans ing what to leave out. Maher continues, “In the early
Weiditz (above). Brunfels wrote 1900s, a group of British experts visited Japan to study
books on various subjects, but its culture. Part of the group called upon some Japanese
his renown is based on his will- painters. ‘What is the most difficult part of painting?’
ingness to observe and describe they asked the artists. ‘Deciding what to leave out," they
what he actually saw, an early were told ... The end product is simplicity - that which Is
scientific method. left when the non-essential has been discarded.”

ZL ANIC
 NEWYORK,

ON AN EARLY-WINTER MONDAY MORNING in Hong

Kong, a businessman boards a plane for New
York, The man, who'd spent a few days tour-
ing the Chinese countryside during his trip,
is not feeling great. He's tired and achy. He
can't decide if it's the wear and tear of his
travels or the beginning of a cold, but after
coughing and sneezing throughout his sia-
Avian flu, hurricane, chemical spill, terrorist bomb, earthquake: teen-hour flight, he’s certain he's getting sick
Whatever the next apocalypse is, New York—and New Yorkers- getting ready for it. By the time he goes through Customs at
But have we done enough? ‘The strategies and tactics of survival. JFK, gets his bags, and finds a cab, he has only
enough energy left to check into his midtown
hotel
and collapse on the bed in his room. The
next day, feeling even sicker, he heads to the
nearest emergency room. By now, he's got a
high fever and he’s coughing up blood. Given
his robust flulike symptoms and his interna
tional travel, alarm bells go offin the ER.
Though word hasn't yet reached the U.S.
there have been several dozen confirmed cases
of human-to-human transmission of the
HS5N1 virus—better known as avian flu—in
the Chinese countryside and several other
spots in Asia, But even without the new infor
mation, the ER doctors, who've been drilledon
what to watch for, are convinced it’s avian flu.
Taking no chances, they isolate the patient. But
the damage has been done—the businessman
has infected peopleonthe plane, at JFK, in his
hotel, and even in the hospital’s waiting foo.
The city’s ability to deal with the pandemic is
severely hampered by three problems. There is
no vaccine and wont be for months. Temifhi,

& L :
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at dat pe ee

Uncaptive Minds

What teaching a
college-level class at a
maximyam-socarty
correctional facility did for
the inmates —
and for me. By Ian Buruma

Hlustrationby Istvan Banyat

The main business ofNapanoch, N.Y,\s.0naxinymrsecurity prison, Eastern New York Corrcetional Facility, also k wi as
Happy Nap he populari Fastern, 1,250 men, many from New York City, 1s about the
samie as that of Napan if, Imposing in a hideous kind of way, the prison, buill ac rhe end
andtu sand a pyramid
of the 19th century, 1smodeled after a medieval fortress, with towers
f. The overall effect ~ stony pomposity framedbylush green hills —is rather Germanic
There1snothing particularly happy about Napanoch, situated on the raffish edges of the
Catskills about 79 miles north of Manhattan; ive better days as an affordable resort area for
New York and New Jersey Jews have long gone. There are a few mote Is nearby with cracked
signs that read Starlite and Bide dos a diner: aJewish cemetery: and a "colony farm,” where
 SGREW W
IPHYOUR
BOYFRUEN
DSH EAD

Arrows represent a linear by the load that has been A clockwise spiral reading from The sequence of absorption is
thought process. A message placed on it (right). It is the de- the upper right is used to arrange a chain of thought. The sixteen
(an arrow) can pick up speed signers job to choose material the 45 still-undeciphered marks letters and sixteen images on
and value as it gets loaded and present it so the message onthe6" Phaistos Disk, cl600Ozc. this spread ad forces a back-
with its descriptors (left) or the becomes more apparent, not Why a spiral - or did the disk’s and-forth exploration of the
message can get bogged down more disguised. roundness cause the spiral? models’ changing hair styles.

Sequencing information should Chains of thought

logically and clearly lead from A message |s revealed one link at a time: a headline,
the primary visual to the head- a first visual, a second visual, a caption, a subhead, then
line, then to the secondary maybe the text. Each of these “hits” is like a link in a
visual, caption, subhead, and chain. No link is itself the chain: the combination of links
finally to the text. Each of these makes the chain.
pieces should be chosen or A design's plan must include the order in which the
written as one part of a single parts - the display type, the images, the captions, and
continuous message the pur- the text - are to be noticed and read. Absent this se- “I don't explain, | don't tell,

pose of which is to reveal to the quencing, a reader is faced with a “bowl of oatmeal,” an | show.” Leo Tolstoy (1828-
reader what the article is about area of relatively equivalent noisiness, none of which Is 1910), author
and why it is valuable to them. sufficiently appetizing to stop and nibble.
Sequencing information is among a designer's most
essential tasks. Book designers, for example, structure their
typography into title, chapter and section headings, sub-
headings, text, and captions. Such typographic structure
helps the reader scan for generalities and, at least initially,
ignore details until they commit themselves to the text.
For every design project, write on small Post-it Notes
each of the ideas you want a reader to recognize. Now
put the notes in order of descending importance. Read-
ers should have thoughts presented to them like links
in a chain - or beads on a string. Albrecht von Haller,
eighteenth-century anatomist and poet, said, “Man can
only follow chains [of thought], as we cannot present
several things at once in our speech."

HANS
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A Korean proverb says, “Only 4,
downstreams,’ that is, clear | levels of typographic hierarchy: A seven-column grid is used to
é , A 5 ‘
clean upstreams make clean design relationships and clean, | primary, secondary, and ter- bring order to a variety of pieces
downstreams." By beginning understandable pages. Every | tiary. This is the clearest, most | on this Web site. Items may be
with an external format, element aligns with the grid | useful differentiation possible, any combination of whole units.
the grid helps make “clean structure, ensuring formal and readers /ike It. Shown here are one-, two-, three,,
agreements. Note the three | and six-column elements.

Two communities contrast Grids: freedom in structure

structure and freedom in their Unlimited design choice is both a blessing and a
planning. Logone-Birni, Cam- curse. Time Is wasted investigating dead ends and aim-
eroon (left top), is a village lessly playing with design elements. It is often better to
with many organically shaped make design decisions chosen from a limited palette.
spaces. The cl665 city plan of There is beauty in simplicity.
Canton, China, shows blocklike Content has its own inherent structure. It comes
planning. built in, but it takes sensitivity to uncover the inter-
connectedness between parts. This Is called “organic
Organic design versus use of design.” There are occasions, though, when it is better
an external format (left bot- to fit elements into an external format. Grids save time
tom). One example shows type and they organize complex information like charts and
effected by the illustration: schedules, scientific data, lists, and repetitive elements “The creative act does not create
the arrow smashes the type. like headlines, pictures, and text. something out of nothing. It
The other example shows both Consistency and creativity are inspired by limiting uncovers, selects, reshuffles,

type and illustration affected choices. Freedom grows directly from structure. Though combines, synthesizes already
by the underlying grid, which using a grid limits choices, it gives a design built-in cohe- existing facts, ideas, faculties,

causes the background to siveness. The limitations a grid imposes are chosen as skills. Typically, the more fam-
come forward as a full design the grid is developed, based on set priorities. Are images iliarthe parts, the more striking
participant. The contrast in most important? How many levels of type are there? the new whole.” Arthur Koestler,

design process yields different Grid development must provide a variety of prede- CBE (1905-1983), writer
design results, though neither termined sizes that artwork and type will be made to fit.
is necessarily “better.” The smallest photos and illustrations define a module
and that module is repeated in a multicolumn structure.
The page is divided horizontally into equal clusters of
text line units.

712)
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ee = ==> =
A piece of parchment (stretched Piet Mondrian expressed de A grid is used in this spread When elements have been fitted
and dried sheepskin) is pre- Stijl principles in his 1942 | from an annual report. The into an environment of same-
pared for writing by having a Composition with Red, Yellow | white box mortised into the 1m- ness, whether on a grid or oth-
grid lightly drawn on it in this and Blue using gridded space, | age Is the most different thing erwise, a focal point becomes
detail of a 1255 German illumi- asymmetrical composition, and on the page. Though small, its | visible.
nated letter. primary colors. caption is the focal point.

A seven-column grid struc- A simpler grid is usually better than a complex grid. A
tures space with flexibility. It grid's complexity should help the designer answer the ques-
imposes white space because tions, “How big should this element be and where should |
the narrow columns must be put it?” A seven-column grid is universally functional and
combined to accommodate great fun to use because it contains many options (fac-
type, leaving at least one ing page, top three rows). But beware: overly complex
narrow column empty. Shown grids offer so many options they become all but useless
diagramatically, these column because they no longer limit choices. Readers can't rec-
variations are not intended as ognize organization when the grid units are too small.
layouts. Structured design has a visible cadence and tension
that leads from one element to the next in an orderly
How to create a horizontal grid. way. But if structure is followed without thoughtful ma-
Divide the maximum number nipulation, it produces repetitive sameness and boredom. “Simplicity of form is never a
of a page's text lines into Grid development must include a description of how poverty, it is a great virtue.”
equal groups, allowing a line and when the structure (or “normal” placement) will be Jan Tschichold (1902-1974),
between each group. For ex- violated. The rules of violation focus creativity and make typographer and designer
ample, if there are forty-eight grid-based design look fresh. The most important rule
lines on a page, there can be of violation is to have an element break the grid when
seven units of six lines each it deserves to stand out. In a context of sameness, that
with one line added between lone element becomes very visible (above right).
units (7x6+6=48). In addition to organizing complex information on
a particular page or spread, grids unite the cover and
interior pages and relate one issue to the next. Grids also
organize an entire company's visual requirements. They
build family resemblance among on-screen applications,
brochures, data sheets, and advertising.

WP M2283
 To which photo Arbitrary or
does this uneven spacing
caption belong? makes the
This lack of reader guess
organization about
is poor relationships
craftsmanship that should be
clear

Centered captions Spacing between Flush left Captions may Equalize Captions
are less clearly captions and captions align run as deep as spacing should never
attached to their photos is not with their necessary between run the same
photos than flush equal in this respective because they photos and width as their
left captions example photos, have enough captions photos, It is too
relating obviousa
attributes relationship!

An ideal A wide twelve-point

six-point space is as large
space bonds the separation
this caption between an image
to its image. and acaption
A narrower sep- ought to be.
aration makes Any wider and
the caption the distance
look like it is destroys the
crowding the caption-image
image. Wider relationship.
distances make
captions look
unconnected.

A too-narrow
three-point space
separates but
makes the
caption look
like it is
crowding
the image.
The space between elements PT Fsitpau
acts as mortar (a mixture of fR ee teay —, A.
atid to, Ry,
bn 0.
lime with cement, sand, and
(CENA:
z

AGE,
ry,
im 5 45 r
water, used to fill the gaps
Lill ig
between stones and bricks and
bind them together): crafts-
manship in bricklaying is de- BES ANN owa Wse-a, Se
termined by the quality of the Space connects when it is pro- Space connects elements two | Look carefully until you see that
mortaring. Similarly, designer's portionafly less than the sur- ways In this poster: the interior the colors and mixed baselines
craft is measured by our rounding space, that is, when it spaces, or counterforms, in the are intentionally misleading.
handling of space that binds is handled like mortar between letters are emphasized, and The only thing that matters here
design elements together. bricks, as in this poster for a three letters in "BENIDORM" are is letter-to-letter proximity: the
United Nations conference. dropped down one line. top line reads “Jazz in Willisau."
(SLT SREY EE ES
The sets of six dots (left) are
Connecting elements Space connects
pages 127
amd] Oagas
identical: our perception of them
changes because of the altered Emptiness must be defined
spaces between them. * pace is never complete and finite. It and consistently applied
is in motion, connected to the next to unify a sequence of
= space and the next. - Marcel Breuer pages.
(1902-1981)
Space emphasizes
Captions are more or less con- The mason’s craft is defined by applying mortar evenly direction 131
nected by the distance that between stones or bricks (opposite, top). Masons don't Space works hand-in-glove
separates them from their at- make the bricks; rather, they manage the space between with other elements to
tendant artwork. A half pica is the bricks. The typographer's craft Is similarly defined by create direction; prevail-
an ideal default distance: not applying space between letters, words, and areas of type. ing direction contributes
too near to look like it is crowd- White space can be used like mortar between bricks to to a dynamic design.
ing and not too far to look like cement elements together. White space connects when
it is unconnected. used in consistent, measured amounts in a design. As an Information mapping
abstract illustration, a group of six dots can be made to and wayfinding 133
mean something by changing only the space between A cross between design
the dots (opposite, second row). hierarchy and road signs,
Wide spaces separate and narrow spaces connect. these help a reader through
That is, elements can be separated by distance or related complex information.
by nearness. The closer elements are, the more related
they seem to be. The first set of black rectangles at left
are seen as a group of three plus one. Overlapping ele-
ments shows maximum relationship. The four rectangles
are now seen as a single multi-sided shape.

8 125
It is easy to make copy look crowded in-
side a box, which is why we see this ugly For greatest legibility, the relation-
effect so often. As with every other de- ship oftype to itself must be empha-
sign relationship, proportion is vital. The sized over the relationship of type to
appearance of sufficient space between its surrounding box. Note that the
box and text is dependent on the type linespacing used in this paragraph
size and linespacing used in the copy. In is less than or perhaps equal to the
this example, the linespacing \s greater space separating,
the type from the
than the spacing between the type and box. White space is used as a con-
the box. This emphasizes the relation+ nector oftype to itself and as a sep*
ship between type and box rather than arator of type from its surroundings.
the correct relationship of type to itself.

{NI}
WILLY
Using space to emphasize di- Wider horizontal spaces create | Wider vertical spaces create Space separates groups of ele-
rection Equal spacing creates rows because the thicker hori- | columns because the vertical | ments in this Swedish maga-
directional gridlock because nei- zontal spaces dominate and spaces dominate and separate. | zine's department
page, despite
ther direction dominates. Each separate, while the narrower _| Vertical columns appear as the the excitement (or visual
of the nine rectangles appears spaces connect through prox- result of relative nearness. cacophony) of type weights
equally near to one another. | imity, or relative nearness. and colors.

Visual flow is shown in this There is a risk to defining areas by using boxes. While
handsome four-spread story boxes effectively enclose space, they tend to oversepa-
from Audubon magazine. rate, harming the unity of the page. Instead of boxes,
use wider alleys between elements (above). Space that
is carefully measured reveals intentional separation of
content, and intentionality is one key to great design.
Rather than using boxes, the addition of a rule, or “Rhythm is in time what
line, near the beginning of an item Is sufficient to make symmetry Is in space.”
it stand out. If boxes absolutely must be used, leave be- Matila Ghyka (1881-1965),
tween six and twelve points of space between the text The Geometry of Art and Life
and the box. Placing a box too close to text creates a
tension and reading discomfort that looks like crowding
and makes reading unappealing.

Space connects pages

A multiple-page document, whether a magazine sto-
Repetition and rhythm are ry or a technical user manual, is made of many individual
shown in these six-page dia- pieces. They must be unified into a clear, ordered state-
grams in which white space Is ment that looks deliberate and purposefully presented.
as consistently formed as any They must catch and hold the reader's attention.
other elemerit. Careful determi- White space connects pages when the spaces remain
nation of the materials at hand the same. In magazine design, repetition and rhythm of
develops such a pattern. spaces and elements help the reader recognize flow from
spread to spread and from issue to Issue. Repeated de-
partment pages, which define the visual personality of a
magazine, should be unified by distinctive head and outer

8 127
 ° @ © e
_ Voltaire
Common sense
| iS not so common
j =
| Voltaire Voltaire ;
| Common sense | Common sense
| | is not so common
Vol-
_ os
eer
Ne
ea
OSE
mC
SR is not so common j

caire sine
is

| ]
common sense
is not so common

res}. mastcomprehensive ocodemc unisinthemadwest.

Seyodtuby accredited by he conss's 2Gegree cond.dotes It $ hily Cocrediied by the
of Schoo’ oveporote buildings Moot Noten Schoo! isleoated infourseparate buildings
wrecn oreon wal COMINGS. theSchoo! ishe sole Foch Division nos on electedings, theSchoot isthesole
of Free and shrecse
of hs section 6toOaefly ocoUpont orfments The purposeofIns section
6lobeefy
8 NE OIQaNWZONON OcheSchoolotArtFumMersectons _ISO.ss Teequiements inIe School ofArtFurther sechons
9 wil Tere “Lang loIneMojor AnyQuestions cf Ins COACINC details 1eicting fothemajor. Anyquestions
not My coo ofArtKent SateUnversty, concemingp ineDirector, Schoo! ofAt Kent SoteUnvessty,
Goo
Te Grea OF fi. sation F shoco combned Desgnand
orgonred
win eisThese drvisons include: orex nfion J groduote levels These divisions inckude:
Hog wotre The Dwson otCrotls conshites complete
Of NemSgn MciLdes grophic design industrel Jesgn.
ders fo.complete acomonec
Seccudes Drnting, crowing. ond cinematog-
nensstrolve COpCSIY Further the Schoo!
hos on
Ass of the Siossom-Kent Art Progam Allthese
Space as a directional force Those days. nobody iySodbrosted in'spari No,“nrereetae
toast avi icone Cosa Uecapturing se Seeding. Formiiioas
0 propia a)aces theworld, sportcneees More thieanshing.
(LR): @ Space exerts pres- Mesabove at{binHtswciniversat language. H's& global eassian,
Confection.
1'sthegical passion,

sure from below, emphasizing

verticality; @ type aligned at
the right edge of the page cre-
ates horizontal direction; @
ig
white space in the foreground ee o

indicates diagonal direction; Space connects pages, as in smaller red boxes on the left Space connects spreads, partic-
and @ traditional optically this spread from a sports mar- hand page. Note, too, the con- ularly in magazine feature
centered position (just above keting brochure. The red back- sistent pattern of black intro stories which require distinctive
geometric center) of the page ground of the right hand page copy and white text, which layout to break the format of
produces perfect equilibrium. is interpreted and applied as adds to the spread’s unity. regularly occurring department
pages.

The grid-determined empty margin sinkage so their recurrence creates a familiar and
areas of this layout help em- identifiable pattern. A feature story, which by definition is
phasize a strong horizontality special material, must appear to be special throughout its
through the story. length, including “continued on" pages. Its design, there-
fore, cannot be the same as either departments or other
feature stories. Inventing a different formula for handling
space Is one way to unify pages in a feature story.
Elements and surrounding spaces must be identically “One reads from the top left to
placed. Create a pattern of occupied and unoccupied the bottom right and must
spaces by distilling commonalities among the materials design accordingly.” Walter
at hand. To ensure unity, design pages in spreads or, Dexel (1890-1973), designer
@New'!
Tokyo even better, as complete stories, as they will be viewed and typographer
and perceived by the reader. Make their repetition and
PDE

Use space in thick slabs to rhythm unavoidable.

direct eyeflow. Big elements Repetition is not dull. Variety for its own sake, on
(above), like big animals (be- the other hand, disintegrates unity. The most visible ele-
low), need big space. ments to treat consistently are borders and white space,
typefaces, illustration and photo sizes and styles, the
logo, and color.
 Date dfs
EAA P. fie}
AsSF fF ig
esa f

ACKSON POLLOCK

Pete yatta Pack,

Welt, 6bom, thorn Carman Wyening
chy, he wind ort ky abe
Tine Nar Renin, het bene He end
cmerreerd pae i the OS pee THOGMB, like
oe SL Neng Kaemeres otfaty competing trade
leer rahe ore ipevintler ats unions, Ismaking
anall-outetfort
toreconstruct Its
tupmbershipsthe
policy promisesto
altertheunion's
whole character,
) GeottreyFoster

[oor eneeaters
Terateanvoxsevane rahbeyabes
inkcorm anor
Bearte
pais Laden wing aavogeadweh pt bere
ona durte murCoensh bend LN

berween exchanges and beoween with the marker 10 execute the

the exchanges and dhe OTC masher onder farmer souk place dem wid
A COLD CALL from MIGHTY MOUSE Along wuh 1 more compeiiiive other (nacinutions As comvaimicns
[ramework that mainuained the per share Gell, she shied amerker
harness ofthe tsdivionsl bhepen to change from » principal
enue naenplace the rangsea 10 40 agency market. A broker's
bough an ead 10 fined commis capsid would often be wed, but Les conseils financiers de ta Caisse d'Epargne
if 1974, Ron Alghini was transferred from d'Alsace
Mise sea Now 4 mar fal te ow venders would scrcanpe v0 line
New York to manage a small Jefferies branch sen for dein in shedhind natn buyer snd seller simuliane-
in Chicago. Thac same year, Frank Baxter was wm wo longer am nue and the ously: “There was more than one
hired as an institutional salesman. The plan outlook for eff-enchange veading company doing thet.” ssid Jim
was (0 tain him in Los Angeles and eventually ‘on May Day was prom Ovens, “hue Boyd was dhe bea.”
Bun pice savings wae net the Jeffedies was working within #

Une réserve d’argent

ave him open an office in Sen sam, pes ed teavon ie deal in the third relatively rarcow base, eroding bg
Francisia Instead, he was nent to the team pint at Jeferien rather. and Jefferver. with several blocks for innitunony without
Now Yor ms pin the ofce sping experience Yeu of experience under is belt making continuovs (wessided
there, hich bad grown by this
ime
Congress finally meved on
10 hsvelo mithem etening estrous in the inde
poopie in back oce operons ry with the Eschaage Acv of 19>¢
as prepared. Imstitusions were
ill looking fer bids and offeriags
arch oF block positioning, and
without wpecalaing in» parrieulas
in sae, withoat the reanenonsof Une of stocks, When Boyd was
toujours disponible
Na this evs of« humping ear The act wis designed 10 promate whem aed where 10deal. The com: shed bow he dod it, he ramped: Comment financer vos projets : la Cane Satellis Aurore est aeveptce
leeplace, Frank Found de enthus- — comperition within exchanges Pany wat able 0 use jr familisncy TTheve'smoseceat vo ie. We jut vous partez 4 la,nelge, mais votre Jans ce merces en Belgique, en
équipement de ski est achanger. Talie et en Espa, Satellis Aurore
Votre lave-linge vousa laché, i! faut est Cgulement kit possililite
le remplacer sans tarder. Halimenter votre compte cheque
Votre enfant fait ses premiers pas, dans la limite de votre réserve
un caméscope permettrait disponible 1 (élephonant a ANS
d'immortaliser ces précieux Financement ei sou 18h. vou
instants... recevez un Virement du montanc
Avec la Carte Satellis Aurore de la leman compte cheque
Caisse d'Epargne, vous disposez Cai I'Epargne, Cenains mois, vou:
d'une réserve d'argent permanente, oubaites disposerde plus de
 Nathan Carter and the Morgan State University Choir

Brooklyn Philharmonic Orchestra =

‘rom Gospel to Gershwin

Conducted by Gunther Schuller

White space leads the reader achieved with a spatial adjust- contrasts. The strong horizon- navigate. The garden path
through the competing ele- ment alone, it is likely to be tality of this typographic (a space between the shrubs)
ments of a design, much like a more elegant solution than example - and the three clearly similarly makes negotiating the
a walking path leads through through the addition of lines defined sizes of display type - groundcover both easy and
a garden. If separation can be or unnecessary type and color make It appealingly easy to pleasant.

This photography. annual com- Space emphasizes direction

presses Images into hairline- Readers look first in the upper left corner. Does
thick strokes on the cover. The this mean designers must design for an upper left start-
ony recognizeable image Is ing point? No, but as Walter Dexel, German artist and
printed on the perimeter of each Bauhaus-era proponent of simplified typography, says,
page, which becomes more vis- designs that stray from the expected norm must do so
ible when the pages are fanned knowingly. Designers must make accommodations for
out. The flap type Is set verti- diverging from the expected, like beginning a message
cally, connecting it with the in the upper left corner. Guiding the reader in nontra-
cover art. ditional directions requires greater accord between all
elements. For example, make hierarchy extremely clear
The prevailing direction created so a focal point in, say, the bottom of the page, stands
by other elements is the start- out visibly.
ing point for shaping white Messages are delivered over time, whether it is
space, as shown by these four the few seconds it takes to scan a page or spread, or
headlines. Controlling space the few more seconds It takes it takes to flip through a
between words and lines of multipage story. Time implies space and motion, from
type creates direction, which one element to the next and from one spread to the “Ca leur plaira bien un jour.”
can be manipulated to craft next. Motion requires direction. Direction is used to (They'll learn to like it some-
a dynamic design. Specific unify and guide attention to key information. Dynamic day.) Ludwig van Beethoven
nonalignment can be used in design needs emphasis in a prevailing direction, whether (1770-1827), composer
this regard: contrast a single vertical, horizontal, or diagonal. Equalizing directional
element outside the prevailing force produces a motionless design that evokes a classi-
alignment to give It visibility cal ortraditional look. Motionless design Is, of course, a
(Uackson Pollock and The New legitimate choice under the proper circumstances, but
Face of Trade Unionism). in general does not serve the reader's need for dynamic

8 131
 tips om rip och fotosattare
Har ar raden som betyder skillnaden mellan bra och dalig investering av fotosattare
och rippar. Tio handfasta tips som leder dig till den maskin som passar bast for din
speciella produktion. AV HANS KLAHR y ¢ i) @

© Det som i férsta hand avgér vilken foto- y Gg p lamnar materialet har varierande kunskaper.
sattare man skall anvanda ar typen ayp En fotosattare kommer da inte till lika stor
duktion. Vilka tryckpressar ska de tui. nytta eftersom filmatgangen skulle bli omfat-
och vilka olika format behg , &) tande.
skriva ut? Det ar inte vary
vissa finns i a Olika filmformat i samma fotosattare.
eee o 2 e SRS Aven om man har en fotosattare som kla-
ee ea ¥ matgan gen ar Si Tikntillverkare och fotosattare de ar anpassa-
da fallen oe . de till MWla filmbredder ar inte vanliga och
bredd $4 att den [ vissa finns inte att f& tag pa i Sverige. Om fil-
Trygg prod ‘ matgangen 4r ster kan man specialbestalla en
till att m: Q bredd s4 att den passar produktionen.
Beas aa ) = |nter n al Dr ur Internal Drumjeller planfotosattare? For
Sepa ae a +. 6] nagra 4r sedag kom en fotosattare som
innehaller de d
aterges korrekt
nagra ar sedai kallas Internal rum. Den har en stabil
trumma somfi en placeras i, varpa den ro-
digital utskjutn
vanta pa att ett
kallas Internal | terande laserw belyser materialet direkt. Det
ia under exponeringen och nog-

trumma som f1
terande lasex,
lioger
N

Vimars_ 10juin 1996 z L’Amérique furtivement.

Un trésor gothique : Photographies
la chasse de Nivelles d’Henri Cartier-Bresson
Musée national du Moyen Age -Thermos de Cluny Musée de la Coopération tranco-américaine
ude Ble

Fonte UIC Entrate Uscite Saldo

valutarie
1° trim. 52 4,554 3,197 Tess
6,852 4,221 2,631
7,877 7,362 515

4,495
5,829 2,451 3,378
6,817 4,803 2,014
17,14
 The Beatles:
Working Schedule 3e

CAA AA
1963 - 1966 ae

WO it
Information mapping is used to songs, decrease in late 1967. _| to year are revealed: the blue | Using a photo of lightning, the
describe the Beatles’ songwrit- The second diagram compares | areas show movie filming in | cause of many power surges,
ing collaboration from 1963 the Beatles’ main activities | March and April of 1964 and this chart diagrams the business
to 1970. Colors show the band's from 1963 to 1966. Consisten- |1965, for example. These dia- costs of not protecting com-
gradual fracturing. Red tabs, cies in scheduling from year | grams, by Michael Deal, are at puter equipment in a full-page
which signify jointly written | ChartingTheBeatles.com. business-to-business ad.

To isolate one part of a design expression. Diagonal emphasis has been misunderstood
from another yet still retain as the most dynamic arrangement. In practice, it is often
their appearance as a single used when a designer lacks a better idea. Diagonal em-
entity, create a standardized phasis should be used with caution because Its startling
space within the story, say, effect is extremely self-conscious and its use can actually
half a linespace, and double detract from the message.
it to a full line space between Use white space to echo the prevailing direction of
the story and its illustration. design elements. Headlines correctly broken for sense
Mathematical ratios like 2-to-1 make their own shapes that should be exploited. “Order... is a function of the
and 3-to-1 ensure a built-in horizontal and vertical refer-
harmony among parts. Information mapping and wayfinding ence lines on a page and the
Information mapping Is patterning or tabulation of frequency with which the cor-
Consolidate bits of white space data so it signals relevance and connections that are best ners of the items fall on these
and put them in chunks at the illustrated, not merely described verbally. By showing lines.” Gui Bonsiepe (1934- ),

bottoms - or tops - of columns connections, information mapping makes data easier A Method of Quantifying Order
(facing page, bottom left). to glance through and to access. Research - and com- in Typographic Design
This makes the editing process mon sense - shows that readers like finding information
easier and gives an informal easily and they like documents that simplify the process
chattiness to text columns. of finding things. Information mapping requires that
content be prepared in segmented, hierarchical structure
Careful balance of horizontal and the structure be given simplified form.
and vertical pathways Is essen- Information mapping is a user-focused process of
tial in making a table legible handling and presenting content shaped by users’ needs
(facing page, bottom right). and the purpose of the information. It has three steps:
Both reading directions are analysis, organization, and presentation. The three steps
intended and necessary. extract the core message and make it evident to the user,

8 133
come
gore
Information mapping explains little money for the inventor in | Color-coded wayfinding, as in | Wayfinding can be useful even
complex data visually. This 1867 (he sold four units) but this temporary system for a from 30,000 feet, a problem
spread from an electronics lots of money for subsequent show at a Spanish convention this 100' tall airport “environ-
retailer's annual report ex- sellers (340,000 in 1924). center, Is limited to a few colors mental communications system’
plains how typewriters made which can be readily recognized resolves. From the ground, it is
and remembered. also a memorable experience.

Information mapping Is illus- which results in an easy-to-scan format that increases

trated in this visual description readability (attracts casual and uncommitted viewers),
of a Spanish main street and highlights details, and enhances comprehension.
its twenty-three street cross- Information mapping is a subset of graphic de-
ings based on use density and sign, as well as information visualization, information
people flow. architecture and design, data analysis, user experience
design, graphic user interface design, and knowledge
management systems.
Robertsau Wayfinding has been compared to information “The way we make sense out
Chasseurs
mapping but in three dimensions, for example, in sign of data is to compare and
|
23 rear
Cité de I'll
Montagne Verte systems. Though the designed results may be quite contrast, to understand differ-
| Molkenbronn | different between the two disciplines, they share a com- ences. Using the analogy of a
mon purpose of making information user friendly and map, a map isn't the territory,
adding comfort to complex messages and environments. it's the difference - be it in al-
Wayfinding Is particularly important to designers as a sig- titude, vegetation, population,
nalling tool on Web sites and in lengthy, mixed-content or terrain.” Gregory Bateson
oaginated documents like magazines, where design in (1904-1980), Steps to an
three dimensions becomes evident as pages are turned Ecology of the Mind

Wayfinding is used in signage or clicked through.

and as department heading Though it is a term coined in 1960 by an urban plan-
signals in multi-page docu- ner in reference to environmental planning, wayfinding's
ments. meaning was expanded in the 1980s to include architec-
tural signage. Its meaning has grown further to encom-
pass any navigation tool that furthers acclimatization
in a complex environment. In short, wayfinding helps
people orient themselves to their surroundings.

8 135
ll lalate as
x
The Stazione Ferroviale Nord for a ten-foot,’life-size installa- | Sculptural dimensionality is Three-dimensional space in
in Milano shows vivid interior tion defirfes both confined | shown in this Korean War print can be realized with pop-
three-dimensional space. This interior and unconfined exte- memorial in New York City in up books, some of the most so-
fourteen-inch sculptural model rlor space. which the figure has been cut phisticated of which, like this
| out of the block. one on Formula One racing, are
designed by Ron Van der Meer.

Two- and three-

oe | = ip ee Z =o 2
The Lauterbrunnen valley in
Noree-climensionall
dimensional space 139
the Swiss Alps is one of the
most dramatic inhabited land-
Space Height and width plus
scapes in the world. depth; how to imply depth
ople live ina three-dimensional in only height and width.
space, an atmospheric volume above
the land surface... The experience of Layers and
Henry Moore's 1935 Reclining being in fine three-dimensional volumes Is transparency 141
Figure shows space fully infil- one of the great experiences of life. - Garret Occupying the same
trating the form, particularly Eckbo, landscape architect (1910-2000) Space and overlapping
where the ribcage is expected approximate three-
to be. The effect is accentu- Most graphic design occurs on flat planes, in two dimen- dimensionality.
ated by the pronounced grain sions: vertical and horizontal. But we see the world in
of the elm wood used in this three dimensions, with the addition of depth. How does A publication is both
thirty-five-inch-long sculpture. design change when the third dimension is added? two- and three-
Carl Dair, in his excellent mid-1960s booklet series dimensional 143
for Westvaco Paper, wrote, “All artists and designers Pages and spreads, and
are confronted with the same problem: here Is a space, consecutive spreads over
how do | divide it, enclose it, define it, intrude forms into time.
it, so that the space becomes alive with meaning and
function? ...The blank space is a challenge to the graphic Texture and pattern 145
designer, demanding that he utilize it for the most ef- Tactile experience in
fective presentation of visual-verbal forms in order to comparison to rendered
communicate clearly to the reader. To the architect, the impression.
task is to enclose a space ... and to divide it for human
activity. The sculptor working on a block of stone or wood

S) SY
 NaemieUae ema DOLLAAe

Kommem Sie sich fcihigi

B. dano gibtieli

ue
Overlapping three figures cre- Overlapping elements creates remove perimeter lines to al- illustration’s implied dimen-
ates a single gyrating dancer an intimate relationship that low surrounding space into the sionality. Or use overlapping
on this poster for a nightclub, can be enhanced. Activate | imagery). Or wrap one part planes to imply a folded piece
known for the cancan, as it up- negative space by overlapping into or through another, as in of paper, as in Leo Lionni's full-
dated itself with the Charles- figures and switching their the leopard's tail through the page ad for a paper company.
ton in 1928. black and white polarity (and “o," which increases the Finnish

Imply three-dimensional space liberates the imprisoned form by letting space into it."
by rephotographing a printed Sculptor Henry Moore said, “A hole made through a piece
and damaged piece of paper. of stone Is a revelation. The hole connects one side to the
Here, paper Is an illustrative other, making it immediately more three-dimensional. A
symbol, in this case a moun- hole can itself have as much shape-meaning as a solid
tain. Greater logical license is mass."
allowed for fashion ads: why Depth in design Is real. It is real as we turn pages.
is this lovely woman's face It is real as we photograph objects. And it Is real as we
crumpled? Perhaps for no other try to show one element in front of another. Depth Is a
reason than to make you look. powerful tool to attract readers and It’s an opportunity “Good design isn’t just good
for designers to explore new limits. looks. People don't buy
Depth is implied on a two- eesthetics, they buy emotions.
dimensional poster by Michael Two- and three-dimensional space They want an experience:
Bierut. Shadow Is used to We live in a three-dimensional world that has height, what it does for them, how
suggest the third dimension. width, and depth. The printed page, however, is flat. It it behaves, how it works for

Shadow Is also used without has only height and width. Depth must be added through them. And most importantly,
the object that casts itina illusion. Spatial illusion can be either volume, which Is how it makes them feel.”
poster for a Japanese interior an implied solid, or space, which is an implied void. The Robert Brunner, Ammunition

lighting designer. illusion of dimensional space is used to get attention,

to imply realism, and to help the reader project himself
Gravity is suspended in a light- into the composition.
hearted Korean ad. Actual There are a few ways to create an approximation of
three-dimensional space Is used three-dimensional space in two dimensions:
on the fronts of escalator steps. M@ Overlap elements: Placing an object in front of another
And a printed knife with two and obscuring the back one recreates reality most effec-
die cuts curls the sliced sheet. tively. Be careful not to make type unreadable when plac-

ORIS9
 “om my mind. The hot drink drove the
the lamp and went from child vind.
ed. He had curled up in my desk ch’ and went from child to chil
stood looking down at him, curled up in my d creed
down at him Gealechs
lad you car as been a he'd had a hard day, 4
ink. He's
Iher's face c
eri 7 isn't he?
Yes, I know he i: “You
must
e.
ed down his ac
wn his
and be like ied 1 thought ¢ bs born, After h I thought on th
my hands dee, boys out here all that and be bys out here.” Th
the lines in hi p in my hand nes in his fac
only one-th in. It’s only or fd Dil be here to
t you go . Why don’t you 1 lie down?”
the d n. He seemed joked around the da: am, He seemed
ches againatithe wl were hts except for} ’s, but I couldn! and seats except for Ri but I coulg
¢ will you sit? lines
the
his
in£ Were too narrov BThe ben ainst the wall were too ng
here” He picked Leslie up in his att here will you sit?”
ir holding him. “He doesn’t thi re.” He pick vp in his arms into
on ight here.” He picked Leslie up in I
to see him.” holding him, n't think too my nad
went
room.
my
chair holding hi 1le doesn’t thin
an’t hold him all see hita,.” a>i lad to see him.”
worry about me. ou can’t hold him|
d the other lamp lon’t worry about
n the middle of t i into my Toon ehted the other|
her and the wall the middle of the bed with fat little Sign am in the middle bed with fat oh
at another chunk and the wall and Mike’s head on her Millen her and the Mike’s head of
‘0 the skin, so I q another chunk of wood in my airtig fifput another ¢ od in my ait
things I had—sor ry clothes a h to the in, S¢ ed all my clothe!
xt of some trouser fest things I had- 1 woolen slacks
and sweater, | paeeeet e out of some tro
¥ eyes, but the wind tor locker up to the irt and sweater,
y cyes, but a denly out of thq my cyes, but th
Windows rat shook my door if ¢ windows rattle
was thankful ime been sure I T was thankful

iY mind.
took the ‘amp and went from
T took the lamp and went from child tq whispered. He had curled up in
. He had curled up in my GRY came and stood lookir down at him
down at him. “He looks p he’d had a hand
home
¢ “He looks as the . “Dm glad 1 said, “Leslid
you came,’ |
had “Dm glad you ¢ sick, I thin Jitele 1
k, 1 think, He’s a His fathe ply. *
His father’s His father’s face a hard God on cramme
hard God hard God and a he was born.%
was born, was born. forget all that
rget all that and t et all that and he lamp in my in, hores
¥
© lamp ir Jamp in my ha a be all in. It's only
zall in, I all in. Iv’s only nk
much
too
1
going
ving. Why 2 go i Ede down? x. Why don’t room. . I look
into
my
I looked arouf the dark rofl He scemed d around the dark room and seai mydn’t
bee
Rhook
ssks and seats ept for Rober but 1 could seats cpt for Robert's! s The benches against the w ma
ainst the wali¥vere too narrow benches a t the wall ¥ re will you si
e will you sit?” re.” He picked Leslie \
icked Leslie up in his arm nt here.” He picked Leslie olding h im. “He di
the chair hold . “He doesn’t think too 1 the chair holdings SS are him,’
n glad to see lad to see hi 0 im al.
all night.
ht.”
“You can’t hol i me.”
“Don’t wor
of
lia
fat
with
bed
the of p and went on int
hunk
wo Bache bed with fat I
Hy lay in the midi Mike’s
and
wall
&4 8 nnd Mike's head
tween her andi Eagkiween her and (i Fle
ick put nad—some f wood in my
r. I put anotil ~ I put anothe: langed all my ¢ through to ig
rough to th rough to the fe old woolen s warmest thing
urmest things rmest things Ih holding
him.
“ but
es,s of Dad’s, to d;
r me out of som ir me out of some B all
him.”
see orry the for1 meshirtout
’; about
me.’’
hold
him id
Isweater.
pulled my
of
fof
trouser
some
and swe
| shirt and sw 1 shirt and sv I pulled my lampthe
other
and
fewent
on BAclosed my eyes, but t he wind tore suddg
sed my eyes, d my eyes, but the wind tore sudderfiallmMll the windo rattledand the draft
| the windows Bl the windows rattled and the draft shoqAidllmetsh. I was than ful to be inside
tch, I was than Ith
“Fe“Tm
as k,
glad
looks
thou Bich, I was thankful to be insides I hadn’e
ake it to Harpers’.
pit to Harpers’.
sic!
not from my mind, m my mind,
I took the lamp and went fron hild to child. 4 Pithe lamp and went from child t&
spered. He had cui my desk cha 1. He had curled up in my de
g down at him.
g ) He looks as tho had a hard day,
lad you came,” D c mr ~ *m glad you d. “Leslie has
5 I think. He's
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 Eon”

This headline reads, "This is Motion can be translated into | Motion can be implied by poster by Armin Hofmann; and
not enough space." The top two dimensions by using bleed, | slicing a photo into strips and by taking a photo with a shut-
half of the page Is left mostly which implies “This is so real, | moving them somewhat ran- ter speed that is slow enough
blank (defining “space"), and it exists beyond the picture's | domly; using speed lines and to capture more than a motion-
the life-size shoe, being too big edges.” selective repetition, as in this freezing instant of time.
to fit the page, still must bleed.

ing It behind another object. Ambiguous space is created

FLAME FLO ND ER when one or more of the elements are transparent. This
sense of “floating in front” is especially remarkable when
printing an element in spot varnish. Drop shadows are
an effective but overused way of overlapping to create
Scale and visual hierarchy depth.
suggest size and relative near- @ /mply motion by blurring elements: This can be done in
ness to the viewer. the original photography, by manipulation in Photoshop, “People are readers, listeners,
by slicing an image into pieces, or by using startling rep- and viewers simultaneously,
Perspective: Herb Lubalin’s etition of some elements, explored by Armin Hofmann participating in an exchange.”
mark for a construction com- in the late 1950s and early 1960s. Steve McCaffrey (1947- ), poet
pany Is an isometric visualiza- @ Use scale and visual hierarchy: Transpose the expected
tion (from the Greek, /sometnia, sizes of elements for startling new relationships. Use fore-
meaning “having equal mea- ground/background contrast to imply greater depth.
surement’). M@ Use perspective: Perspective is a technique for depict-
ing volumes and spatial relationships on a flat surface.
Atmospheric perspective is Shown are a dimensional logo in isometric perspective;
grayer and less distinct as “atmospheric perspective,” in which distant objects ap-
space recedes, showing alr’s pear grayer and less distinct (Photoshop filters exagger-
actual thickness. ate this effect); and Masaccio'’s The Holy Trinity, c1427,
the earliest true perspective painting.
Masaccio’'s Trinitd in Firenze's Perspective can be manipulated
Santa Maria Novella is consid- Layers and transparency to create ambiguous depth, as
ered the first painting to use The key to emulating three-dimensional reality in two in this reversible figure.

perspective to create a sense dimensions is to interpret the way real things interact in
of volume. real space. Real objects overlap, partly hiding the objects

9 141
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The logo for this Manhattan | not possible to capture the | so the decision was made to | other opportunities presented
hotel was developed in part entire sign without a distortion- | take left side and right side | themselves. Resolution was
because of the limitations of Causing extreme wide angle captures separately and stitch tried, but the final positive and
the camera used to photo- lens (or to fall off the twelfth them together into a single im- | negative versions are above at
graph the enormous neon sign | floor as we stepped back and age (left). Because the photos far right.
on the building's roof. It was | back and back once more), couldn't be aligned perfectly,

The airplane is printed on the in back. Real objects can be transparent or translucent,
back of this “globalism(s)" letting details show through. Observe reality clearly and
poster by Pentagram, which then translate what you see into flat planes.
takes advantage of the trans-
parency of the poster's paper. A publication is both two- and three-dimensional
In addition, this poster suc- Pick up a magazine or book and thumb through the
ceeds at exploiting “two-level pages. What you see is a cumulative perception of pages
readership,” in which primary riffling by, an accumulation of information delivered se-
information is offered for more quentially. Each page and spread Is flat, but pages have
distant absorption, then de- two sides and some small amount of thickness. These Paper's thickness is revealed
tailed secondary information Is are attributes which may be exploited. in this letterform study whose
provided for closer reading. Bruno Munari (1907-1998) developed the “useless counterforms can be found on
machine” and the “unreadable book." Shown at left are the previous recto.
spreads from his 1967 book, Libro Illeggibile N.Y. 1. The
“story line" is literally a piece of red string that punctures
some pages and runs through die cuts in others. He
forces awareness of reading a three-dimensional book.
Three-dimensional space, or depth, in graphic design
should take into account the process of reading. Post-
ers, for example, are designed for two-level readership:
they make a primary effect at long distance and, hav-
Bruno Munari's Libro Illeggibile ing lured the reader closer, have secondary, close-up
N.Y. 1 was designed so "visual information.
discourse, rather than a text Three-dimensional space can be emphasized by
composed of words, carries the looking creatively at the substrate, at the paper itself.
thread ofthe story." Semitransparent paper suggests unusual front and back

9 143
Die-cutting and scoring. and white panels and reverse Page size contrast can show per causes the user to notice
transforms this flat sheet of folded cutouts adding very off a special event, a special | the publication as an object,
paper into a three-dimensional intentional play of light on the section or process, a magazine- | not just an invisible informa-
design with alternating black | paper. within-a-magazine, a special | tion delivery system, which
| advertising section, or a very increases the publication's
large event. Creative use of pa- perceived value.

Texture Is a tactile experience: opportunities. Die-cutting makes paper's thickness and

the surface must be fe/t to be opacity visible and usable. Cutting some pages shorter or
fully appreciated. These Swed- longer also emphasizes the dimensionality of paper. Tell-
ish paving stones can certainly ing a story panel by panel as a brochure is unfolded, for
be felt, but a photo of them example, makes good use of paper's three-dimensional
must convey the tactile impres- qualities.
sion in only two dimensions: Though a magazine or book is seen by readers one
height and width. By adjusting spread at a time, multiple-page stories are best planned
the image to maximum con- in a single horizontal strip. This ensures design continu-
trast, the inherent pattern ina ity from spread to spread (see also chapter 7). Because
texture overwhelms its tactility. you only see one spread on screen at a time, computer
So a pattern results when tac- makeup does not encourage the technique of “horizontal “Thus let it be the golden rule
tility is reduced. design." This failing is mitigated a little by the computer's that everything be demon-
support of design consistency through the use of guides, strated to all the senses... the
master pages, and typographic styles. It remains up to visible to sight, the audible
is the designer, however, to create and use these tools that to hearing ...and if something
“Horizontal design” can be ensure consistency in a repetitive pattern. can be perceived by several
enhanced by ignoring natural senses, let it be demonstrated

spread limitations. Design a Texture and pattern to several senses.” Jan Amos
multiple-page story in a con- Texture is tactile - it is three-dimensional and must Comenius (1592-1670), “The
tinuous horizontal space and be felt. Pattern is a repeated motif. A photo of a texture Father of Modern Education”

crop It every seventeen inches. is no longer three-dimensional, so it isn't true texture any
A six-page story, for example, more. Capturing three-dimensional texture in two dimen-
would be developed in a single sions makes it flat and increases the chance that it will be
51" (8'4"x 6 pages) x 11" hori- perceived as a pattern. Increasing contrast (facing page)
zontal rectangle. will often help describe the original dimensionality.

9145
“Unless typography is being
used as central to the commu-
nication, as the pivotal
illustration, what makes the
communication work is always
the content.” Saul Bass
(1920-1996)
Section Four
Type

10 Listening to type 149

Keep typography simple 153
Frozen sound 157

11 Typographic technicalities 161

. Legibility and readability 163
~ Type classifications 171
Punctuation and dashes 175

Space and text type 191

» lext abstraction 193
Effortless text 195
Setting perfect text 199
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\ It is not enough to have “noth- a design uglyslike the example | sloppy. Simpler letter forms | Every typeface has a “visual
ing wrong" with a design. above left, is the random with design consistencies, used | voice,” an equivalency to the
Thee must be something rec- combination of pieces, chosen | ina way that is in some way spoken word. These are the
dgnizably “right” to be consid- on whim. The arbitrary font sensible, make designs hand- same characters In four Korean
ered good design. What makes choices and uncertain position- | some and descriptive. alphabets.
ing make designs complex and

Typographic elements, like

Listening to type Keep typography
headline and text, are distinct simple 153
visual voices. They are equiva- Expressive type requires
lent to the different voices SSpographic arrangement should reasonable quietness in
one might use to indicate achieve for the reader what voice its surroundings to be
characters in a story that is — tone conveys for the listener. - El heard.
read aloud. The information Lissitzky (1893-1941)
hierarchy is revealed in an ad Frozen sound 157
in descending order of impor- What do we mean by “listening to type"? Imagine lis- Our alphabet is made
tance. Notice the circuitous tening to a book recorded on tape. The reader's voice of glyphs that represent
path the reader has to follow changes with the story, helping the listener hear various sounds, so writing can
in this design before getting to characters and emotions. A story told on paper should and should be considered
the text. This may deter casual do the same thing. The “characters” typographers work “graphic speaking."
browsers. with are categories of type: headlines, subheads, cap-
tions, text, and so forth. These typographic characters
are our players and must be matched for both individual
clarity and overall unity.
Typography creates clear differ- Typography is, according to the dictionary, “the
ences in content, valuable even art or process of printing with type.” The root words
in small, subtle doses. Note that make up typography are typo (type) and graphy
the contrast between text and (drawing), so it literally means drawing with type. My
Caption in the example on definition is: applying type in an expressive way to
the right, and the subsequent reveal the content clearly and memorably with the least
stronger relationship between resistance from the reader.
the caption and the picture, Typography involves far more than working with
which deserves to be exploited. the abstract black shapes. In practice, typographic

10 149
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Typographic rules, like the ing, date from 196 sc (left) and breaks, may be manipulated Breaking design rules makes a
development of word spacing, Ab C500 fcenter). Typographic to create startling results, as in design more visible. This 1995
have evolved over centuries. rules, like the adherence to this broadside found at an art Neville Brody panel from Fuse
These samples, which precede word spacing and default line school (right). magazine reads “Superstition”
the development of word spac- in one of Brody's many idiosyn-
| cratic typefaces.

EI Lissitzky's ad for carbon paper decisions are - or should be - 90 percent about the ma-
uses typestyles to illustrate nipulation of the space around the letterforms. \ndeed,
meaning (left). The four typo- poor typography results from misunderstanding the
graphic elements are each importance of the “not-letterforms” and concentrating
treated differently, but the align- only on the letters themselves. “Not-letterforms,” or the
ments, spacing, and artwork Space surrounding letters, is seen between characters,
act as unifiers to counteract words, lines, and between blocks and columns of type. It
these differences. is the contrast of the letterform to its surrounding space
that makes type either less or more legible. Legibility is
central to typography because type Is, after all, meant “The quality of... typography
to be read. is dependent on the relation-
Consistent spacing makes reading easier because ship between the printed and
the reader is unaware of inconsistencies in rhythm, which unprinted parts. It is a sign of
is to reading what static Is to the radio. The measure of professional immaturity to ig-
a good typeface is whether every letter combination Is nore the decisive contribution
spaced for optical equivalency so no dark spots appear of the unprinted area.” Emil
where letters are too close. Even spacing produces even Ruder (1914-1970)
typographic “color,” or gray tone.
Piet Zwart's typography Typographers use elements and traditions inherited
(above) shows complex rela- through generations of writing, printing, and reading.
tionships using simple letter- Many typographic rules were adopted from handwriting
forms. An architect until age as printable type forms were developed in the 1400s
thirty-six, when he turned to and 1500s. Historically, typography was handled by the
typography, Zwart approached printer who cut his own typefaces, designed the page,
letterforms unrestrained by and reproduced the design on paper. In the twentieth
design convention. century, typography and printing separated. Around

10 151
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The flexibility of letterforms as | Typographic pyrotechnics (left) Unlike typography, musical

distinct aad worthwhile shapes | contrast with clear simplicity notational styles (below) gen-
“His eyes
how they twinkled!
his dimples how merry!
unto themselves was devel- (center) and a balance between erally don't add to or detract
His cheeks
were like roses, oped in the first half of the eye-catching novelty and ele- from the musical message.
his nose like a cherry;
His droll little mouth twentienth century, as shown gant clarity (right). This is a Bach Prelude written
was drawn up like a bow,
And the beard
on his chin
in this magazine cover.
was as white as the snow.”

Clement C. Moore
1950, typographers and typesetters became outside
Type and illustration echo each vendors who set type to the specifications of the designer
other in a one-to-one transla- or art director, which evolved into a new responsibility.
tion. This is a literal illustration Computers, forcing a new working methodology, have
of nouns using found pieces. nearly obliterated the typography specialist since all
type decisions are made within a page design program.
Designers are widely expected to be masters of an art
form that takes many years to learn.
Choosing a typeface that matches the content is
important. Words are symbols of emotions and ideas
that manipulate the reader. But choosing the right
typeface is not as important as using a more neutral
typeface well. Dutch designer Piet Zwart (1885-1977)
said, “Pretentious [letterforms] oppose the utilitarian
task of typography. The more uninteresting a letter is in
itself the more useful it is in typography." The danger is
that typography will begin and end with choosing the
Attitude in advertising is often typeface rather than be used to reveal the content. And
best described using hand let- that is not typography, but fashion.
tering (facing page). The head-
line set in an ordinary typeface Keep typography simple
(above) makes the message The essence of typography is clarity. R. Hunter Mid-
much more rigid, not at all the dleton said, “Typography is the voice of the printed page.
feeling the ad is trying to evoke But typography is meaningless until seen by the human
as it holds a mirror up to its eye, translated into sound by the human brain, heard by
intended audience. the human ear, comprehended as thought and stored as
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Abstract word and letter shapes | design solutions are born of | Type, like the spoken voice, traditional or state of the art,
can be manipulated to express the attitude that type can can be powerfully bold or highly complex or primitive.
meaning as shown in this poster be damaged in service to the elegantly understated. It can | Type’s intrigue is often best
for Herman Miller (above left) message. warn by shouting or gracefully | expressed in combination, as
and spread ad for Nike. These | inform. It can be stuffy or in- shown in this department page
formal, universal or parochial, from Esquire magazine.

Flavors of type, c1691, Filippo memory.” Canadian teacher and author Carl Dair wrote,
Cecchi, Florence: contrasts of “Between the two extremes of unrelieved monotony and
size, Capitalization, letterspac- typographical pyrotechnics there is an area where the
ing, and column width show typographic designer can contribute to the pleasure of
lievly differences. A single type reading and the understanding of what is being read.”
family unites these four voices, Complexity will not get a message across because,
balancing their variety with though it may be interesting to look at, the message
one strong consistency. won't be legible. Simplicity alone will not get a message
across because, though it may be easy to read, its im- “| want to use type to enhance
"| try to bring type to the maxi- portance won't be recognized. Only simplicity combined the meaning ofthe words, not
mum level of its expressive with expressiveness will make the message both legible contradict, ignore, obscure, or

potential,” says William Long- and interesting. interrupt what's being said. My
hauser of his poster, far left. “It Establish a tone, a typographic attitude in the dis- goal is to inject decisiveness;
is essential that [type] can be play type, where flirtations with reduced legibility are to show that these words
read, but | play with it until it best tolerated by readers. But unless the reader grasps know what they are saying.”
expresses the content of the something of value, his conversion from a looker to a Susan Casey (1962- )
message. It may take longer to reader will not occur. Put interesting information where
recognize the word “Transposi- it can be found. Break the type into palatable chunks
tions," but the experience of and recognize that readers enter stories through picture
deciphering the meaning Is Captions.
more memorable. In a sense, | The key to creating expressive typography Is to
am forcing participation." predigest the copy and show off its meaning and Its
importance to the reader. This can't be separated from
Typographic tone of voice Is the editing process. Read the story, know the subject,
shown in this no-nonsense use ask the client or editor what the thrust ought to be, then
of workaday Trade Gothic. make that point crystal clear through design choices.

10 155
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Abstract studies in typograph- limited set of typographic designer is using exactly the | creativity for their work to be
ic contrast (facing page and samples dnd limits some de- same ingredients, so simply noticeable. That is true “value
above) express voices to intro- sign choices to force creativity | choosing more eye catching added" design, and the es-
duce the idea of type as frozen with shape and form. Neither | material is taken away. Mul- sence of what designers must
sound. The exercise requires legibility nor making sense are | tiple critiques help designers bring to their assignments.
the use of materials from a desirable in this exercise. Each recognize the need to add

Contrast type style, size, For a design to work effectively, the type must be an
weight, position, color, or treat- integral part of the composition. If the type Is altered or
ment to show hierarchy and removed, the piece should fall apart. It doesn't matter
give enough information for if it's a poster, a cover design, an advertisement, or a
the reader to decide to become corporate identity.
involved with the text, where
the story really is. Type strat- Frozen sound
egy includes crafting a size Jerry Lewis, in a Vanity Fair interview about his in-
and weight sequence for the creasingly controversial muscular dystrophy fundraising
headlines, subheads, captions, telethon, said, “| must be doing something right; I've
and text so each is distinctive raised one billion, three hundred million dollars. These
and all work as one to make an nineteen people don't want me to do that. They want
appealing design. me to stop now? Fuck them ... Do it in caps. FUCK THEM."
Mr. Lewis understands the translation of oral sound
into typeset form. He understands that verbal emphasis
becomes visual emphasis, most usually by contrast of
size. This is the essence of typography: translating the
equivalencies of spoken language into printable form. “Typography is simply the
Treating typography as frozen sound begins with voice, for the head is the
being sensitive to what Gene Federico, a master of ad- destination.” Rick Valicenti
vertising design, calls “sound tones.” Federico says, “You (1951- )
must choose a typeface with a sound that isn't against
the idea and image you are trying to convey, unless, of
course, you are introducing an irritating sound, an Ir-
ritating typeface for a specific reason.” English designer
Neville Brody says, “Let's say a French person comes

10 157
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You. Speech. Recognition. Software.

That. Works. Like. This.
Oh ruh-Wwatk 92 Bold Condensed

Oh ruh-VWwaM x...
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 er

Oe re ee

Rhythm requires breaking repeti- Experimental typographic stud- Part of this exercise is helping being broken in a laboratory
tion unexpectedly, which cre- ies express multiple voices designers discover the edges environment, the rote adher-
ates visual surprise and a focal and hierarchy using only the of legibility, so they may chose ence to legibility is a hindrance
point. contrast of relative position. to flirt with it in subsequent to expressive typography.
designs. Without that barrier

Studies in typographic contrast up to you and starts talking. The first thing you notice
express typographic “voices.” is that he's speaking French - not the words that he's
Students are provided with the said. Just set a piece of text, first in Baskerville, then
same type and must explore in several different faces and observe exactly how the
design ideas like rhythm and message changes. The choice of typeface is critical to
organic/geometric contrast. the emotional response to the words" (facing page, bot-
tom right).
Also important is developing sensitivity to rhythm.
Punctuation, capitalization, A speaker who drones at a single speed Is causing “The use of words - their
and extra word spacing make his listeners extra work to dig out the good content. By sounds, their meanings, and
this headline (far left, bottom) comparison, a speaker who alters her rhythm of delivery, their letterforms - has been
a typographic illustration. by pausing before beginning a new Idea, for example, an intriguing aspect of design
makes the content clearer by grouping information into since the invention of the
The same text set in different sensible clusters. Such pauses in rhythm are expressed alphabet. A picture may be
typefaces changes the message. typographically by altering a single element unexpect- worth a thousand words, but
edly (above, left) and by breaking the ends of lines of as one wit pointed out: It
display type at logical places, rather than whenever a takes words to say that.”
line happens to be filled with letterforms (left), as is Allen Hurlburt (1911-1983)
ciminmg, it common and generally appropriate with text settings.
ain't If the line of display type is broken arbitrarily or in the
Fine dining, wrong place, reading and comprehension is slowed down.
it ain't If natural line breaks don't work well visually, editing
the copy, adjusting the layout, or changing typefaces
Breaking for sense makes display may be necessary.
type understandable by group-
ing words into logical phrases.

10 159
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 AT)
AD 130 Roman carving at
Wroxeter, Shropshire

INSTAL OS8LA REAL A/DENCIAD

AD 150 Roman quadrata VIOENESE LYGAR evap JVLOo

aX
capitals 612 SENDOPRES IPNE GOVERNESS
/ CRTAN GERERA LB ELL Ae. DOTOR
| we JUN FERNANDEZ pRECALDE
AD 300 Roman rustica capitals
Ligatures are overlapped | either the wholly ignorant or The proportional changes nec-
| kerning pairs, as shown in the | the highly educated. Everyone essary to render three type

1420 Manuscript writing, A/ (AV), E (TE), (DE), and in between Is trying to “get It weights are shown tn this com-

Koblenz NE (NE) pairings on a Quito right” by following typographic posite study of light, regular,
stone plaque. Such expressive conventions. and bold versions of roman and
lettering is today produced by italic members of a type family.

c1450 Johannes Gutenberg,

Mainz Typograp nic Legibility
and readability 163
technicalities Making type attractive to
passersby and easy to
he practice of typography Is one that understand once they've
1476 Erhard Ratdolt, Venice
requires both an intuitive grasp of form been stopped.
and considerable study to achieve mas-
tery. Typography gradually reveals its ex-
Type classifications 171
1489 William Caxton,
pressive potential. - Milton Glaser (1929- ) A simple system to
Westminster
recognize typefaces and
Today's use of type is based on thirty-five centuries of appreciate their
1501 Aldus Manutius, Venice typographic evolution, on countless improvements based differences.
on our need to record ideas in writing. Developments in
the speed, accuracy, and precision in both the marks we Punctuation
make and the way we reproduce them - in the substrate and dashes 175
1557 John Day/Christophe
(paper), printing presses, and even the Inks - are driven Adding road signs to
Plantin, Antwerp
by technological improvements. reading to control and
The history of the written word Is the history of the guide comprehension.
changing needs and opportunities of human society.
1574 Unknown Frenchman,
Designers who are not fully informed about the traditions
Cologne
and subtleties of type use are mere typesetters. And
typesetting is not typography. Readers are well served
when the type they are being offered is at once expres-
sive and transparent in its content delivery. That balance
1691 Filippo Cecchi, Florence
is hard to achieve and requires the careful, measured
revelation of levels of meaning.

1757 John Baskerville, 1] 161

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 This paragraph shows lining figures inappro This paragraph shows old style figures prop
priately set amid lowercase Truesdell, design erly set amid lowercase Truesdell, designed
ed by F.W. Goudy in 1931. This version was by F.W. Goudy in 1931. This version was
digitized in 1993 from letterpress proofs of digitized in 1993 from letterpress proofs of

ALL CAPS
16-point fonts. Truesdell was Goudy’s forty- 16-point fonts. Truesdell was Goudy’s forty
Lowercase seventh typeface design. LINING FIGURES, seventh typeface design. Old style figures, like

word shapes LOOKS LIKE LIKE

WITH
1931 & 1993, SHOULD
ALL-CAPS AND IN CHARTS.
BE USED
AS
1931 & 1993, blend in with lowercase type
They stand out in an all-caps setting by look
are more defined BRICKS
We read by subconsciously rec- scan than all caps because they Numerals unintentionally | and blend into text. Use lin-
ognizing word shapes. So the have moré distinctive word | stand out in text (left) be- ing figures amidst all caps like
more distinctive the word shape, shapes. That's why setting type | cause they are set in lining headlines charts, and use old

the easier reading becomes. in all caps should be limited to | figures, which look like capital style figures amidst lowercase
Lowercase words are easier to a few words, as in a headline. letters. Old style figures look or running text.
| like lowercase characters

Legibility is a measure of how Legibility and readability 1234567890

easily we can decipher the let- There are some characteristics that make type more Lining figures
terforms as we read (far left). legible and readable. Legibility, which is closely related 1234567890
Neville Brody pushes the edges to the design of the letterforms themselves, is the ease Old style figures
of legibility in this work which with which type can be understood under normal read-
reads, “The future city tran- ing conditions. Readability is the quality of attracting
scends..." Readability is a mea- and holding a reader's interest. It is the result of how
sure of how strongly a design the designer makes type comfortable to read. High read-
attracts and holds a reader. ability - making something noticeable and interesting -
This poster is much easier to often produces low legibility, that is, the piece becomes
notice than It is to read. hard to read. So be aware of letting art obscure content
rather than reveal it.
The shapes of numerals have The following six aspects of typography affect its
evolved just as letterforms readability, or ability to attract readers: the inherent
have. These numerals, from a legibility of the typeface, type size, letterspacing, word
c1460 Renaissance book made spacing, linespacing, and format. “Typography which appeals to
for merchants’ day-to-day use B The inherent legibility of the typeface If the reader the eye embodies the same set
(the relative hastiness of the becomes aware ofthe letterforms, the typeface is a bad of principles of design that
manufacture - the lack of page choice because it detracts from the smooth transmission goes into any work of art.”
alignment - reveals this), look of the message within. Legibility is most affected when Carl Dair (1912-1967)
a little different than today’s what we are accustomed to Is challenged. D1 All-caps
characters. The book shows are harder to read than lowercase: the white space around
basic mathematics: multiplica- lowercase words makes more distinctive shapes than all
tion tables on the left and caps, which look like nearly identical rectangular bricks.
exchange rates for Florentine All-caps settings should be kept to no more than two
coins on the right. lines deep. The mind perceives three of anything as be-

11 163
 ‘Cap height —
Ascender

“Median
KitHinrichs:"Typographyisoneofthemostpowerfulemotionaltools
availabltodesicnets [tcommunicatesmuchmorethanjustthewrit-
ten word.Whenusedeffectively,itcangivereadersa sense of the
mood and .pacing of a story, convey whether the content
is serious or light, instructive or entertaining. Type can
X-height

LEGIBLE
Kit Hinrichs: “Typography is one of the most powerful emotional
tools available to designers. It communicates much more than

AUTARKY
Baseline . just the written word. When used effectively, it can give readers
a sense of the mood and pacing of a story, convey whether the
Descender line content is serious or light, instructive or entertaining. Type can

-AUTARKY
This is 8-point Frutiger set with 2 points of
additional linespacing. Because it has a com-
This column is 13 picas wide and, in order to

paratively large x-height, it looks as big as achieve an average character-per-line count

the 10-point Perpetua below. The same two
of thirty-nine to fifty-two characters, the
fonts are contrasted at 24 points to show de-
tail. This is 8-on-10 Frutiger set across 13 picas necessary type size in this font is ro point.
This is 10-point Perpetua set with 2 points
of additional linespacing. Because it has a
This column is 18.5 picas wide and, in order
comparatively small x height, it looks as big
to achievé.an average character-per-line of
as the 8-point Frutiger above. The same two

FrutigerPerpetua
fonts are contrasted at 24 points to show de-
thirty-nine to fifty-two characters, the nec-
essary type size in this font is 15 point.
 Type looks a iiGSnrlay
me mRPped forts
of a dark bztatattntes
This eee of white pre Pista ta ey Sate We Carty
and make them look lighter. fi
“Ain Te RANCE
Reversed type needs Fon SORETHING |Meoatant
See Eee Like A LicaMewt +
around each character. > te EAR we yo Av Aw Ay Ta Te
Type looks al OR, in
nr SR ** ClLarser To Tr Tu Tw Ty Ya Yo Wa
of a dark b- Bn bn. We Wo AC AT AV AW
Tiss cectitere aR” AY FA LT LV LW LY OA
has been [a ist OV OW OY PA TA TO
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S00 We beara Pond KEL | STR
SF VA VO WA WO YA YO

Reversing type calls for special | ing type. The bottom example |“Counters,” short for “counter Letterspacing There are three
handling. White letters look on the right Is a script face spaces,” are left white in the basic letter shapes: rectangu-
slightly smaller, so boost the whose tails should abut the | hand lettered display type of lar, round, and angular. Some
point size a bit. Space around | leading edge of the next char- this ad, giving the already combinations don't match up
letters tends to fill in, so open acter, so the open setting makes | character-filled type treatment for optically even space distri-
the letterspacing when revers- it look “wrong.” la quirky uniqueness. bution. These must be kerned.

"Not-letterforms,” or the spaces ing many, so three or more lines of all-caps text repels
surrounding letters, exist be- readers. () Old style figures look like lowercase letters
tween characters and words. and are used when numerals are set in text type. Lining
It is the contrast of the letter figures, which look like capital letters, should be used
form to its surrounding space in charts and tn all-caps settings. (1) Sans serif in text
that makes type legible. may be harder to read than serif. Serifs aid horizontal
eye movement, so add extra line spacing to sans serif
The best way to ensure spacing settings. CI Italics are harder to read than roman. Most
accuracy is to create display italics are lighter than their roman counterparts and
type in Illustrator and convert — contrast less with the white paper. And readers are not
to paths. Position characters used to reading Italics. Use italics briefly and for emphasis.
and adjust spaces individually [J Shaded, outline, and inline faces are difficult to read
as discreet shapes, not as let- and should be used only for display purposes. (J Any “The symbols ofour lettering
ters in words. legible typeface becomes useless in, say, six-point italics system are too familiar to
reversed out of 40 percent gray. provoke us into reflections on
Wi Type size Ten-point type is thought of as the smallest their basic construction.”
Type size The x-height affects legible type, but some eight-point looks as large as some = Armin Hofmann (1920- )
our perception of type’s size ten-point type because of relative x-height, the part of the
and legibility. An ideal column lowercase letterform that exists between the baseline
width or line length contains and the median. Type size should be proportional to line
about an alphabet anc a half length: the longer the line, the larger the type must be.
(thirty-nine) to two alphabets @ Letterspacing Letterspacing should be consistent.
(fifty-two) characters per line. This is particularly important at display sizes where exact
Type size must thus increase as | Spacing is most noticeable. Spacing should be in propor-
line length increases. tion to the letterforms: wide letters need more letterspace
than narrower letters; small letters need more letterspace

11 165
Wordspacingdevelopedduring Medievaltimeswhenscribesaddedvar yingamountsofspaceto
perfectlyfilloutlinesofhandwrittentext. WrittenperfectionwasthoughttomirrorGod’sownperfection. Gone
Thescribesalsomventedcontractions,whichallowedlongwordstobemadetofitintoavailablespace.
Gutenberg continued the practice of justifying type as much for aesthetic as
practical reasons. His moveable type needed to be “locked” in position before eae
printing, and each line had to be the same length to accept being locked up.
Gutenberg cut pieces of wood that could be inserted between words to achieve the smooth
right edges his machine required. Today’s digital typesetting can adjust spacing with un- lke
precedented precision, but putting the right amount of word space in a block of text or |word spacing
display type still requires a designer with knowledge, vision, and experience. Word spacing

Setting justified type across Setting justified type across a line length
a line length that is too that is sufficiently wide produces even
narrow causes uneven word word spaces. Meticulous attention must
spaces which become be given to hyphenation in all justitied
noticeable to readers. settings. Conversely, a flush left setting
Meticulous attention must always produces even word spacing be-

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KOMMUNISTISCHE INTERNATIONALE!
The quality of a cathedrals con- Word spacingthat is greater | Word spacing in condensed fereepacing may make this
struction (shown in this 1465 than linespacing becomes | letterforms must be tighter newspaper ad (announcing an
Jean Fouquet illumination) was unavoidably visible because | than normal to preserve the | upcoming redesign or“facelift")
judged by the use of mortar be- the eye connects to the near- _ integrity of each line. _ harder to read. But it contrib-
tween the stones. Letterspacing | est neighbor, which Is vertical. utes the only personality to an
similarly indicates type quality. otherwise ordinary design.

Word spacing Invisibility is the than larger letters; caps need more than lowercase letters.
optimal amount of spacing be- “Tracking” alters letterspacing paragraph by paragraph.
tween words. It should just sep- “Kerning’ alters letterspacing between specific character
arate one word from another. pairs. “Ligatures” are conjoined letter pairs.
More than that breaks up the M@ Word spacing: Cathedral construction was judged by
horizontal flow of reading. quality and consistency of the mortar as much as by the
stonework itself. Similarly, typographers' work is judged
Two modern samples of word by the spaces between letters and words. Word spac-
spacing used intentionally. ing should be invisible, just enough to separate word
thoughts while maintaining the integrity of the line, and “Don't confuse legibility with
not so much that the reader perceives the pres- communication.” David
Enraged cow in-
ence of spaces and individual words (like this). Carson (1952- )
jures farmer with
Justified type gets its even right edge by forcing space
machete
throughout the line. Short lines of justified type have
Enraged cow injures the least consistent word spacing because they have
farmer with machete the fewest word spaces available to be distributed. The
Enraged cow flush left/ragged right paragraph style has consistent
injures farmer word spacing and provides an equivalent visual rhythm,
with machete regardless ofline length. (1) Hyphenation in justified text
Hyphenation in display type Is allows more consistent word spacing, but hyphenation
poor practice (unless the idea should never be used in display type, where breaking for
of "breaking" is itself the point sense is more important than breaking to fill a line.
of the headline). Otherwise, Mi Linespacing: Maximum legibility calls for text to be
break a headline into segments set no wider than forty to fifty characters per line. Longer
that are natural phrases, as measures must have added linespacing so the reader has
shown in the third example. an effortless return path to the left edge of the column

1 167
 graph indents should be set in proportion the purpose of paragraphing. period. This can be achieved using tabs.
to the type size being used. A hanging indent pushes the first line
THE DARKNESS OF a bold lead-in 1s
Larger type needs a deeper indent. out to the left and ensures that
an excellent cue that a new idea is be-
Smaller type can function with a less conscious, purposeful white space 1s
ginning. It may have space above the
obvious signal of, say, about a pica. built into the page.
paragraph added, but it doesn’t need it.
Another signal is to indent whole para-
Adding space between paragraphs can graphs in an alternating rhythm. This nitial caps should echo the
be overdone. In this example, a full line works especially well with justified copy, distinctive display type used for
space is too much added space (above). where the right edge’s smoothness con- a story. They may either stick
It fights the flow of ideas in a column. trasts with the left edge’s fluctuations. up into emptiness —a “raised initial” -
The point is to make each suc- or hang down into the text, as shown
Half a line space is usually a good dis-
cessive idea appear at once dis- here. This is called a “drop cap” and is
tance to separate ideas and still maintain
crete, yet belonging with what another signal to indent whole para-
unity, as shown above.
precedes and follows in a cohe- graphs in an alternating rhythm. This
It is redundant to both skip space be- sive, unselfconscious way. works especially well with a purposeful
tween paragraphs and indent the first line, Drop flow of ideas where the right edge is an
as such redundancy reveals the paragraphs begin each new para- excellent cue that a new idea is built
designer to not have thought about graph directly below the previous and follows in an obvious signal of ideas

COUNTING CROWES

ABEAUTIFUL MIND
BYBENJAMINSVETKEY

>>IN‘ABEAUTIFUL MIND? RUSSELL CI

PLAYS A MATHEMATIGAL GENIUS WHO
FINDS COVERT MESSAGES HIDDEN IN THE TEXT
OF OTHERWISE INNOGUOUS MAGAZINE>>
PHOTOGRAPHS BY NIGEL PARRY
 Note that the word spaces are Note that the word spaces are now
larger the line spaces and that smaller than the line spaces ‘and that
your eyes prefer moving vertically
rather th orizontally, Blur your your eyes prefer moving horizontal-
Il see wiggly “rivers ly rather than vertically. Much of
] P: Never use “Auto”
as a line spacing attribute because typography is making such subtle aa ee
it avoids makin specific decision changes in the specifications and fine
about how much space should exist
between lines. This must be a choice tuning the relationship of letters to
based on increasing type’s legibility. the space surrounding them. This ts

Linespacing cannot be smaller takes, but they Cannot produce Format Justifying text across a Format Type set in a funny
than word spacing, or the eye superior spacing, which is the too-narrow measure will pro- shape forces the viewer to get
travels downward rather than domain of the graphic design- duce uneven word spacing (eft). past the visual trickery to pry
across lines of type. Default er. Defaults should always be Flush left/ragged right always out the message within - and
spacing attributes will keep overridden with more thought- has even word spacing (right). they probably won't bother.
you out of embarrassing mis- ful spacing characteristics.

Format Traditional paragraph- for the next line. Two narrower columns are often better
ing signals are indentation and than one wide column. (Notice how claustrophobic this
skipping space between para-
decreasing linespacing makes you feel? Experiment to find
the optimal linespacing for comfortable reading. Every
graphs. Less conventional typeface and column width combination has its own
paragraphing signals include needs.) Linespacing must be greater than word spacing,
or the eye flows down a stack of words rather than hori-
the hanging indent, the zontally across a line.
whole-paragraph indent, drop Mi Format: Readers recognize several key visual signals.
paragraphs, bold lead-ins, and Position on the page signals importance. The top of the
initial caps. page usually holds the best stuff because the top Is
where our eyes go naturally. The bottom ofthe page Is “Perfect typography is certain-
“Minus-leading" is typesetting less valuable real estate, so it may have the less impor- ly the most elusive of all arts.
so the baseline-to-baseline tant material. 0 White space signals relative belonging- Out of stiff, unconnected little
distance Is less than the size ness between elements. Elements that are close together parts a whole must be shaped
of type being used. It is usu- appearto belong together and elements that are further which is alive and convincing
ally seen in all caps settings apart appear to be less related. O Paragraphing an- as a whole.” Jan Tschichold,
like this, since there are no nounces the beginning of a new idea. Any signal of a Clay in a Potter's Hand
descenders to overlap into the new beginning will work, though the most common are
tops of the next line of char- indention or skipping space between paragraphs. This Is
acters. Word spacing, which is a fruitful area for discovery and reinterpretation and reit-
always seen in relation to line eration of existing design attributes, making the overall
spacing, has been tightened design more unified. 1) Punctuation signals the pauses
to avoid reading downwards. and stops that occur in copy. There are a few rules that
Here, word spacing and line punctuation must follow, the important ones having to
spacing are about equivalent. do with connecting and separating clauses. CJ Type set
in a funny shape draws attention to itself rather than
to its content, which is counterproductive.

11 169
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Ak.a as roe

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ABCDEFGHUKabcdefghijklmnopat
ABCDEFGHIJKabcdefghimnops
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ABCDEFGHIJKabcdefghijkimnoy
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Early serifs shown in Pompeiian man who moved to Venice, Possibly the world's first sans Earliest development of types
brushstrokes and Nicolas developed typefaces based on serif letters are on a fifth- shows movement from black-
Jenson’s 1470 Eusebius typeface | local northeast Italian writing, | century BC Greek headstone. letter (1440 Gutenberg) to ro-
(shown actual size, about six- which was much lighter than | Though these stroke ends are man (1465 and 1467 Sweyen-
teen point). Jenson, a French- the blackletter used north of very gently swelled, this is a re- heym and Pannartz, and 1470
the Alps. sidual effect of stone carving. Jenson).

1501 First italic type: Aldus Manutius

defipere fateatur. fedficnt ai Type classifications

alijs tollitur omnibus . Nibi Letterforms have been evolving for about 3,500
1527 Ludovico degli Arrighi
years: type has been evolving for about 450. Writing has
N alla uia oft. tamen ire it passed through periods of slow changes and great growth.
I nuiague andaci properot There are many ways to classify styles of type. | prefer a
1525 First oblique capitals
relatively simple system of eight classifications. Of these,
Fert Fatum parteisinri serif and sans serif are the most important because they
Prelia, debellatum Or, are the most often used. My digital font collection has
1545 Claude Garamont
three catalogs filled with serif typefaces, two showing
Chriftiamp. Regis prun
aie editis fis1n facrss jsans serifs, two of scripts and handlettered types, five
ee ae with display faces, and four showing picture fonts.
tus admonen
Ladem,
c @ Serif Has cross-lines at the ends of strokes, which
Amftelodamo,ncn mod date from stone carving during the Roman period. Serif
Italic type was based on region- types are subcategorized into four divisions (each of
al handwriting. First made in which can be further reduced, though my desire is to Aldus Manutius, the Latinized

1501 by Aldus Manutius, he keep it relatively simple here): O/dstyle, the first roman version of his given name, Aldo
called it corsivo and, because typefaces, based on the writing of Italian scribes in the Manuzio, introduced several ty-
he made only lowercase letters, late 1400s; Transitional, from the 1700s, which combine pographic characters and con-
he used them with existing characteristics of both Oldstyle and Modern; Modern, verted local handwriting into
roman capitals. The French from the late 1700s, which have the greatest contrast what came to be known as

crafted slanted capitals to be between thicks and thins; and S/ab Serif, from the 1800s, italic type. This |s a replica of
used with italic lowercase which have thick serifs to darken the letters and increase Manutius’ print shop in Venice,
types a few years later. visibility for the new business of advertising. where he elevated typographic
@ Sans serif Type “without serifs” introduced in 1817, form and printing technique to
embraced by the design avant garde in the early 1900s. new and more elegant levels.
Sans serif types are subcategorized Into three divisions:

1117]
ABCDEFGH]]Kabcdefghijklmnopgrstuvn°°. © SCRIPT TYPES
Pelica

ABCDEFGHUkKabcdefghijklmnoparsti
Post ae

ABCDEFGHIJKLMNOPQRSTUV @ GLYPHIC TYPES

Trajan

ABCDEFGHIJKabcdelghijklm1 Meridien

UMIIVYEFHHIFRabedefghijKmnopges @ BLACKLETTER TYPES

Wilhelm Klingspor Cotisch

UBSCOIEFGH
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ABCDEFGHIJKabcdefghij]®" @ MONOSPACED TYPES

ABCDEFGHIJKabcdefghiij! OCR-A

MEE DEP GISi HELE MEE POR @ DISPLAY TYPES

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Quotations, 1826
Edward Walker, England
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"$96 pletgon-man (iil onterme Capitals

ABCDEFGHIJKLMNOPORSTUVWXYZ
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tepocepintnnaenae abcdetghij kimnopgrstuvwxyz

ben Wel and tw Ip correct late hom come torweftmo;
Liningfigures

0123456789 0123456789
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William Caxton made this ad in veloped his own character sets, | A font is made of many more tuation and assorted glyphs.
1478 to show off his new type- which carfe to be known as characters than the twenty-six The simplest display face might
face, Sarum Ordinal. Based on Old English. As England's first characters in the Latin alpha- have as few as fifty characters
northern European blackletter - printer, Caxton was instrumen- bet: both capitals and lowercase while the most complete text
Caxton had just learned his tal in standardizing English letters, plus one or more sets face might have as many as
trade in Belgium - he soon de- spelling and usage. of numerals, small-caps, punc- two hundred characters.

(ROE
Grotesque and Neo-Grotesque, based on earliest designs
from the 1800s, so called because early type without
The ampersand is an evolution serifs was considered ugly; Geometric, influenced by the
of et, Latin for “and.” Drawn Bauhaus and featuring circular bowls and consistent
in many variations, it is one of character weight; and Humanist, which looks organic
the oldest abbreviations. and somewhat hand-drawn with greater stroke contrast.
© Script and hand-lettered Closest approximation of
hand-lettering; range from formal to casual.
@ Glyphic Based on letters carved in stone. Usually all-
caps because minuscules did not exist in the days
of actual stone carved letterforms. “A typeface is an alphabet in
@ Blackletter Also called Gothic and Old English. North- a straitjacket.”
Alan Fletcher
ern European flat-pen handscripts at the time of (1931-2006)
Gutenberg's movable type, c1450.
@ Monospaced Types in which each letter occupies the
same space, regardless of their proportional width,
a remnant of typewriters. These are still valuable as
figures in tables and charts where vertical character
alignment Is useful.
The question @ Display A vast category that includes types that don't
“mark is a "Q-o" fit into other categories (and even some that do).
(or2), an abbre- By definition, these typefaces would be significantly
viation of quaestio, Latin for less legible at text sizes and should not be used for
“what” or “I seek." The excla- extended reading.
mation point is a Latin “l-o," © Symbol and ornaments Simple illustrations of repre-
equivalent to “wow.” sentational and decorative ideas.

Ml ze
 414-horsepower V-8
; BMW 2008
0-60 in 4.8 seconds
Redline 8400 rpm

The Ultimate
Driving Machine’

Quote, sedan, unquote.

Introducing the all-new 2008 BMW M3. Just when you think while rediining at a hair-raising 8400 rpm. Every inch meticulously
you've seen it all, another BMW M3 is unveiled. This time it takes redefined, there is simply no more fat left to trim from this first-ever
the shape of a sedan that delivers an unexpected rush of 414 horses production V-8 M3 Sedan. Amazement. Crafted at BMW M. LHR @
©2008 BMW of North America, LLC. The BMW. name, model names and logo are registered trademarks.
European model shown.
Ho lasciato il bambino solo un mo-
mento in cucina — e l’ho ritrovato
infarinato — da capo a piedi. Miri
Hyphens and dashes come in | has been proposed as a way | the ends of lines. An en-dash numbers. An em-dash Is the
three widths. Each has its own | to solve the need to hang a is slightly longer and used as a longest - | believe too long,
role, but it is up to the designer horizontal hyphen. A hyphen separator in elective situations, because it becomes too notice-
to choose which character will iS a short horizontal bar used as between multiple com- able in a text setting - and
be used. A vertical hyphen to indicate breaks In words at pound words, and between is used for sudden breaks in

| dialogue.

Punctuation and dashes |e AU ULULAY faye

Punctuation developed as a way for scribes to holds a publi

indicate reading speed for out loud delivery of religious tent together.
services. There were no standards for the use of punc-
tuation until the invention of printing. In general, dots
s the constan
indicated word separations and were replaced by spaces ‘ead to spread
by about ap 600. The dot, when aligned at cap height, issue to issue,
was then used to indicate a stop, like a modern period, siare the wital
and when aligned at the baseline, to indicate a pause, age tok
like a modern comma. Aldus Manutius, one of the first holds a publi:
printers in Italy, introduced the semicolon, question mark, ntent together.
and the slanted, condensed humanist letterforms, which
came to be known as /talics.
s the constan
Never use primes in text (top). «Quote marks were introduced in Paris in 1557 as a read to sprea
Reduce the size of punctuation pair of sideways Vs.» English printers eventually replaced | issue to issue,
and the space after commas those with inverted commas ("6s") at the opening and vt are the wital
and periods particularly in dis- apostrophes ("9s"), which had been invented in the 1600s, Hung punctuation, the place-
play type for optical evenness. at the end of aquote. Smart quotes like these are used in ment of punctuation marks in
text while prime (') and double prime (") symbols - also the margin beyond the flush
A verbal interpretation of the called the vertical apostrophe - are used in numerals. edge of a column, was first use
“air quote,” those annoying fin- French spacing is the insertion of two word spaces in type by Gutenberg, though
ger gestures people use to step after a period to highlight a new sentence. French spac- it is today an automatic process
outside what they are actually ing was used in monospaced typewritten copy through in InDesign. Hang punctuation
saying, is used to novel effect the twentieth century to help make sentence beginnings by placing it in the margin to
in this car, uh, sedan, ad. more visible. It is not necessary - and actually bad form - create an optically even col-
in proportionally spaced digital typesetting. umn edge.

WAS
 |
Limestone & Slate |
oO,neburns, onesmolders IM a a |

ie
WiGgh |@

t
J

l [ D i l l Pie
ol
 VISA

THE ATHLETE ON YOUR LIST

i
Display type is often the big- Letterforms and imagery be- Detail of the top half ofa run- | Display type's purpose is to
gest type, and as such, it can come oné, abstracting both in ning clothing ad has primary | attract attention, and this two-
be treated as pure form, as the process. This technique is type rendered as a shoelace - | letter illustration certainly does
can the spaces between its successful if the imagery Is di- a noticeable and relevant it with style, as It precisely
characters. rectly related to the message. treatment for this message. describes the “g" and “o" letters
| from Visa's typeface.

Display type stops browsers

Display type Primary type 179
and it should lead directly to Type meant to be seen
secondary type. first doesn't have to be
== he correctly set word Is the starting the biggest type.
Display type is not necessarily point of all typography. The letters
large: its true intention is to themselves we have to accept: they Typographic
be seen first (Tchaikovsky). Its are shaped by the type designer. - Jan abstraction 179
visibility is dependent on the Tschichold (1902-1974) Balance eye-catching
surrounding type, so the focal singularity with
point is the element with the There are two kinds of type: display and text. Text is reasonable legibility.
greatest contrast with its sur- where the story is. Display is there to describe content
roundings (Vivaldi). Huge let- and lure readers through a sequence of typographic Secondary type 181
terforms cropped by the edges impressions so they can make an informed decision The payoff for abstracted
of the page in the first study about committing to the first paragraph of text. At that primary type Is relatively
are a powerful attractant. point, the story is on its own and, aside from ensuring clear backup type that
legibility in the text by crafting optimal characters per explains and leads to the
Three headline styles exhibit line, harmonizing letter-, word-, and linespacing, and text, where the story Is.
@ Contrast of alignment and choosing an adequate type size, the designer's job of
position: the headline is visible revealing content Is largely done. Setting display type 185
by separating it from the text; There are various opportunities for the designer Display type is not merely
@ Contrasting type styles: the to describe content and lure browsers. Primary type Is large text. Spacing is far
headline is visible by setting It usually a headline. Secondary type, intended to be read more visible, so needs
in a different typeface; and @ after the headline and before the text, includes subheads more attention.
Type and image integration: the and decks, captions, department headings, breakouts,
headline is visible by blending and pull quotes.
the type and image into one. Readers are accustomed to looking at big type

WE WATE
 me na abad
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OLIVIA }
STEPH

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ARROGANCE

THINK
Character shape Character width

BEFORE
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THINK
“Pom are disturbed not by the things

(4 The New Dodge

DOP
CLAIRE CASSIDY

Position

deta

CHARLES
S BEAME
ie dosti]

JAN VAN POSTUR merlan Démélé

Size Stress Weight
 FASTER

JAMES GLEICK

Abstracting type includes Tops of letters are easier to Sometimes abstracting a word Display type based on position,
/

rebalancing the figure/ground read than bottoms and lower- by leaving letters out entirely not just bigger size. Unity with
relationship by making the case are easier to read than |
is the best way to get an idea matched size of text. Symmetry
|
ground more important. Here caps because word shapes are across, is stable, and may reveal some-
is an example that repeats varied. thing about chair's stability?
parts of a single typeform c.

The nine typographic abstrac- first, but “display” is not necessarily large type. Nor is
tions Typographic abstraction “text” necessarily small type. The real definitions are
can be expressed in infinite intentional: “display” is the type intended to stop the
ways, but it always exploits just browser and to be read first; “text” is the destination to
nine type contrasts. It is nearly which the reader is drawn.
impossible to express only a
single contrast by itself, so Primary type
intentionally pairing them will Headlines and the structure of a page create the
lead to multiple alternatives. personality of printed material. Primary type Is used to
Character shape Serif vs draw attention to itself, to stop the browser and to lead
sans serif to a specific piece of secondary type. The secondary “Sometimes you have to
Character width Expanded type’s purpose, In turn, Is to lead to the text. The text Is compromise legibility to
vs condensed always the final destination. achieve impact.” Herb Lubalin
Color Dark vs light Headline treatments fall into three categories: (1918-1981)
Density Tight vs loose; Positive alignment and position, contrasting type styles, and the
vs negative; Solid vs outline integration of type and imagery. Regardless of design
Format Caps vs lowercase treatment, a great headline is provocatively written and
Position Vertical vs horizontal: makes an immediate point.
Top vs bottom; Front vs back
Size Small vs large Typographic abstraction
Stress Vertical vs oblique There are places where playfulness with legibility is
Weight Heavy vs light inappropriate. Text, for example, is simply too small to
absorb abstraction without substantially losing legibility.
But display type Is tailor-made for unusual treatments
that flirt with illegibility. Display type is meantto attract
attention and it is usually big, so letterforms can be

2A
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ESS
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 FRANKLIN GOTHIC CONDENSED
BEADED OCEAN ELAREn
POLAROID CHALE PIXEL
PLASTIC
SPACE

TAXI
CRUMBLE STITCH
4
GRID SCREW FREE
ample, a 1921 magazine logo, Typographic expression and sans serif faces are more useful

trades individual character playfulness is best done with than serif, and roman Is more
recognition for overall unity a relatively plain typefaces useful than italic. These are
+ 4 A
completely removed, normal, a shape Simple letterforms are editable Variations on Franklin Gothic
an
ang
eo
Very
Qnen
OD
The
ine
e
Ch while keeping their recogniz- produced by students as fully
able shapes. For this reason, functional display fonts.

Damaged \etter rer IMS SUIT SOME

read even if they are “damaged.” There are an infinite
number of ways to “harm” letter and word forms, and they
are all combinations of the nine typographic contrasts.
Type abstraction simply pushes a normal contrast to an
POLS
equally hoon
scratchy, t down-home7
SLIGLL extreme. For example, making type “big” isn’t enough.
econ
OesIO ]
tH
esee letter
ietters aoc
lOOK Making type so big that the edges are indistinct works
siitnanticsa
autne Cany n
AU tinge
5. Pewso
DEWAare because it forces an interaction of figure/ground.
af ucina
IF USING nremade
eMmace “damanerc
Gamaged Some typefaces are inherently abstract and hard to
read. With these, ordinary typesetting Is all that's needed
to create an attention-getting abstracted message.

spabefgomty uri." i ay eae

SAAMI4yey yo"-¢y SPABEFSOMTY
A typeface’s character may be corroborative
(Nuclear), contradictory (Nuc] Ear), or neutral “| believe there is one per-
to
to oerform
orm community
community
service
service
(Nuclear ) to the meaning of its message. Use typo- fect use for every typeface
graphy that is laden with character sparingly, only in the ever drawn, no matter how
primary and secondary type where its attention-getting hideous,” Fred Woodward
strength is at least as important as Its legibility. (1953-)

Secondary type
lf the headline is the lure, the subhead Is the read-
ers’ payoff. Here is the opportunity to hook the reader
by explaining the headline. The headline leads to one
or more secondary messages, first a subhead or deck,
but possibly a caption, breakout, or pull quote. The mes-

12 181
 ren rey a
N KZ
all
b>

STARE MESTO= PRAHA 1 H

Deaf college Deaf college 3 ras

opens doors Local opens doors a)
to hearing school to hearing
EP

Local school So give alegre atere buy ancn trenLomrticular Sigal cr

dering yourtqyour3!0, andfortheevi your39your aff
ae to sing
ples pores artical, Cova 7
dropouts Local school dropouts Surya se
cut in half
by by
Karla Karla
Kohn tesa the Kohn tm

“Mala Strana "2:

“« couple slain” ‘
Police suspect =
» homicide
Subheads are sec- - =

ondary type that

WHAT THE) HEL Lge
explain head- It’s Not Just doe.
Genetics - —
lines. A deck is a
subhead imme- a
Sh
fowl
ivile.
diately beneath
the headline. A
floating subhead \s secondary Captions are display type: they | Subheads are secondary type Secondary type exists hierarchi-
type placed away from the are read before the text and that explain or support the | cally between the primary type
headline. A breaker head is should provide information headline. Sometimes, they can and the tertiary type. This Nike
placed in the text column and about the story. These captions be taglines at the end of text, spread ad has a few pieces of
regularly hints at the worth- are labels that tell us how to as shown here. secondary type, contributing
while goodies within. interpret the Image. to its screechy visual tone.

Breakouts and pull quotes are sages In the headline and subhead should be two parts
brief extracts from the text of a complete thought, provocatively showing why the
that are handled like verbal story Is important to the reader. Readers should, after
illustrations. Provocatively ed- a total of three or four information “hits,” have been
given enough information about the story to make an
Spabefgomty
ited, their purpose is to make
browsers stop and consider informed decision about whether or not to get into the Franklin Gothic

reading the story. Breakouts text. Actually becoming committed to the text can hap-
pen only after they have begun reading it.
Spabefgom
and pull quotes can visually Monotype Grotesque

connect pages of a long story Secondary type should be smaller - or less notice- Spabefgomt Meta
able - than the headline, but more prominent than text.
Spabetgomty
by repeating a variation of the
type treatment of the opener’s A balance must be struck between contrasts and unity News Go

headline. among the three levels of type. Variations of one type-

face in the primary and secondary type contrast well
Spabetgomty Quay

against a highly legible text face. Spabefgon Clarendon

Selecting the right typeface is a significant decision,
Spabefgomt
Captions explain photos.
Because they are read before but how you use a typeface is at least as important as Loire

the text, they must be thought

of as display type and be fasci-
what typeface is used. Imagine if your work were given
an award for design excellence: would the typeface
Spabefgomty
nating enough to persuade poten- designer get the credit or would you be recognized for Spabetgomty
having used type well?
Spabefgomty
tial readers to enter the text.
A friend redesigned a magazine in the days of hot
metal type (this was in the the 1960s), when a font was Ten favorite typefaces.
truly a single typeface in one size and weight. The client
had purchased only two fonts: twelve-point Franklin
Gothic Regular and Bold. The magazine could only use
those two fonts, yet had to do all that a magazine's ty-

12 183
 Mo Jatt
Loire Sombre Kw Skt im Omar, HAH
Avenir 85 Heavy
Loire Regular Rectres ~~ Ke.

Avenir 55 Roman
. Ma Bax oo tment:
Loire Italique Wit hdm “ty seta
Avenir 55 Oblique i Sei ebiierb
Go Ney tier: ann fi
Klqr enane Mu, SON

~ “Nifen Nhach
yt

In general - and to make con- versions of the regular weights | This theater poster announces | Secondary type provides struc-
/

trasts look intentional - use | you have six typographic “voic- the season's lineup, so each play | ture as a five-line musical staff
|

no more than two typeface es," equivalent to hearing six title is handled as secondary to a presentation of clusters of
|
families in a design, and don't | people reading aloud, which | type, between the theater's letters in this German poster
use more than two weights _ should be enough to convey | name/season
year and the direc- for a concert of Mozart's music.
of each face. If you add italic any message. tors’ names/performance dates. |

pography must express. The redesign, using only position

and emptiness to make display type visible, succeeded
because of the extremely limited typographic contrast.

Setting display type

Display type shows off mis-spaced characters more
than text simply because of its larger size, where char-
acter-to-character relationships are particularly visible.
Letters are strung together into words. The space
between individual letters goes unnoticed when the
type is smaller than about eighteen points. The optimum
letterspacing is “invisible,” that is, it is unself-conscious.
The reader should not be aware that letterspacing exists
when It is done well.
Words are grouped into lines of type. Word spacing “The expression in a (typo-
Letterforms are both vessels of is the glue that holds lines of type together. The secret to graphic) design is what is
communication (as part of an good word spacing Is also invisibility. The reader should most important, not the type-
alphabet) and beautiful forms. not be aware of the type that is being read but should face that is used.” Wolfgang
These studies, using characters be concentrating on its meaning. Display word spacing Weingart (1941- )
from Martin Wilke's 1988 Wilke, is often too large because it is set with built-in text al-
blend letterforms with illustra- gorithms. In general, display type’s global word spacing
tive content, creating new hy- can be reduced to 50 to 80 percent of normal.
brid art and type messages. The secret to developing an eye for perfect, invisible
type spacing is to assume that your spacing is either too
open or too tight. If it can be only one ofthose choices -
never just right - adjust It until it truly looks just right.

12 185
 Seventy percent Seventy percent
Eighty percent Eighty percent
Ninety percent Ninety percent
One hundred percent One hundred percent
One hundred ten percent One hundred ten percent
One hundred twenty percent ~One hundred twenty percent.
One hundred thirty percent One hundred thirty percent

Torskii Torskii Torskii

TRACKING "NORMAL"
NO KERNING NO KERNIN TRACKING “NORMAL"
WITH KERNING

=. SMALLCAPS 2.2 SMALL CAPs

uN
TRUE SMALL CAPS ARE FOUND True SMALL Caps ARE FouND
IN “SC” FonTS In “SC” Fonts

2 SMALL CAPS
FALSE SMALL Caps Are REDUCED
9 SMALL Caps
FALSE SMALL Caps ARE REDUCED
In Size AND Look Too LIGHT IN SIZE AND LOOK TOO LIGHT

Man minus ear

Man minus ear waives
rearing Man minus
ear waives
hearing walves hearing
Steals Steals STEALS STEALS
clock, clock, CLOCK, CLOCK,
faces faces FACES FACES
time time TIME JIME
 UTAH
ARTS
More opportunities than
Streptococcus in a room
FESTIVAL
full of 5 year-olds.

Med CAREERS
CHA@AO+EFr

Real quote marks look like "66" programsJs set to use “smart Display type can have “poor” Display type requires especially
and "99." The inch (") and foot quotes," so you must consciously spacing attributes if it is the careful spacing. The best way
(') marks are incorrectly used deselect this to get proper prime very thing that defines the type. to achieve optically consistent
as ambidextrous quote marks, a symbols in numbers. Shown This headline for an employ- spacing Is to treat each individ-
leftover from typewriters’ need here are the keystrokes used on | ment ad was typeset on a ual letter as a form: convert it
for few keys. The default in most a Mac for these six glyphs. | prescription label printer. | to paths and adjust manually.

Digitally compressing or ex- Headlines are made of clusters of phrases and

panding type creates anoma- should be “broken for sense" into these clusters, regard-
lies. Visible distortion becomes less of the shape this forces on the headline (facing page,
apparent in most typefaces at fourth row). To find the natural breaks, read a headline
about +5 percent of normal out loud. Try not to break a headline to follow a design;
set width. rather, break a headline so that it makes the most sense
to the reader. Hyphenating type communicates that
Kerning Is the optical spacing shape Is more important than meaning. Display type
of letterform pairs, which ts far should never be hyphenated, unless its meaning Is to
more important than global illustrate “disconnection.” “Typography exists to honor
tracking at display sizes. The effectiveness of display typography Is princi- content.” Robert Bringhurst
pally dependent on the management ofthe white space (1946- )
Small caps match the weight between and around the letterforms, not only on the
of full-size caps. False small letterforms themselves. Because display type is brief (to
caps, which are merely reduced snag the reader's attention), letterspacing, word spacing,
in size, look too light because and line breaks become more important.
they are proportionally smaller. Increase contrast and visibility of headlines by mak-
ing them darker on the page. Reduce white space in
Breaking for sense puts mean- and around characters in letterspacing and linespacing
ing above form and should be (facing page, bottom). All-cap headlines in particular
seriously considered in display should have linespacing removed because there are
headings. no descenders to “fill in" the space between lines. In
upper- and lowercase settings, don't let ascenders and
Linespacing should be tight- descenders touch, or they'll create an unintentional
ened in headlines to make the stigma on the page.
chunk of type darker.

12 187
 HH
i
1
i

oldit; to cut it unnecessarily is shamefywejto

ici
fia negrta iciando
porti, non fi ’ ‘ pb OS nemoriiy.
The most durable are those anomalous!” ‘ i} torloro port ,
amore ? ,che e/Jo be l’atto di cotanto ufizio, di cot:
rriewe ne effo 4 gli dola flan aon fouerchio
rould-made’, for these, like the hand-mé, onero ne difbettofamente rifiute il uinere 1

JayyeajyalsyM
s

OOLIIIMSPIIQa

afterthey’vebeenplucke Tuizjeddey

Here we are now at the middle

COWL ARE E....

of the fourth large part of this talk
More and more I have the feeling that we are getting
nowhere. Slowly as the talk goes on
we are getting nowhere and that is a pleasure
A It is not irritating to be where one is It is
only irritating to think one would like to be somewhere else. Here we are now
FOR A) BROCHURE FOR THE ACADEMY oF FINE ARTS A N OD
7 a little bit after the middle of the
fourth large part of this talk DESIGN Im BRATISLAVA, SLOVAKIA. IT IS A SINGLE UESHE
More and more we have the feeling
that I am getting nowhere
TYPEFACE: I HAVE WOT USED IT SINCE THEN, AND PROBABLY
Slowly as the talk goes on I WILL WEVER USE IT AGAIM. AS THE NAME OF THE FONT
slowly we have the feeling MAY SAY. COLLAPSE IS HIGHLY AFFECTED BY A NEW WAY OF
we are getting
which will continue
That is a pleasure
If we are irritated
DESIGMIMG—COMPUTER GRAPHIC, AND BY THE COMPUT ER
it is not a pleasure Nothing is not a ERRORS THAT ARE COMMECTED WITH ite THIS SEEMED TO BE
pleasure if one is irmtated but suddenly A SATISFACTORY REASOM FOR ME TO DESIGN A NEW FON T.
it is a pleasure and then more and more
it is not irritating (and then more and more sooke OF A CHARACTER OF THE TASK (STUDENTS’ E XHIBITION
and slowly ) Originally
we were nowhere ; and now, again
THE TYPEFACE WAS AIMED 10 BE “SONTRADITIONAL”,
. we ere having the pleasure AMOTHER REASON FOR THE CREATION OF THIS TYPEFACE
of being slowly nowhere. If anybody
is sleepy let him go to sleep
WAS THE LACK OF MOWEY: WE COULD NOT AFFORD TO BUY A
|
v FONT,| AWD TO MAKE OWE UP AS A SCHOOL PROJECT DOES NOT
Here we are now at the beginning of the |
| |
ninth unit of the fourth large part of this talk.
More and more I have the feeling that we are getting \Im ORDER TO GIVE THE FACE/A RANDOM LOOK, EVERY
nowhere. Slowly as the talk goes on
we are getting nowhere and that is a pleasure
LETTER HAS TWO DIFFEREWT VERSIONS, SO THE FONT EXISTS
It is not irritating to be where one is A It is IN TWO DIFFEREWT SETS—UPPER AMD LOWER CirARe.S Es

LBWEB. eC
only irritating to think one would like to be somewhere else. Here we are now
, a little bit after the beginning of the ninth unit of the
fourth large part of this talk
More and more we have the feeling
a Sf
LECTURE ON NOTHING/121

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ju nye sxy Oyazord owapyyansopipeE ayjin BAZ—OjisID
sigeuy njdusay nnb nye: wmadumyuos oqiou
unjrawiop sinbe ayiny onba und eun wingde TAFEMUS
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Textus to text: Jextus is a late
Middle English term from the
Latin for woven fabric, the
closest thing to which the
recent invention of movable
type could be compared. Here
are samples from Eric Gill,
1931; Aldus Manutius, 1505; Paragraph widths have been | alternating weights, this is an Text columns nearly abut, but
and St. John Hornby, 1902. sized to glign and flirt with unusual alternative to simple their baselines are staggered
the tightly cropped imagery in paragraph indentions. to indicate line ends, an echo
Weight, stress, and density this example. Combined with of the subtle shifts in the dis-
determine type's texture, as play type.
illustrated by this student
exercise.

axe Type Space and text type 191

Type's space is imaginatively Managing the “spaces
used in Silence, a collaboration between’ Is crucial in text
by composer John Cage and Bf 0 matter how fine are the types we settings.
typographer Raymond Grimaila. select, our work's appearance de-
pends on good composition: the Text abstraction 193
Variable character spacing combination oftype into words, the ar- Abstracting text Is
affects the text's right edge in rangement of words into lines, and the different from abstracting
this study by Peter Bil’ak. assemblage of lines to make pages. - D.B. display: balancing
Updike (1860-1941) legibility is a far greater
concern.
The term text comes from textus, Latin for the texture of
woven fabric. There are two interpretations ofthis etymol- Effortless text 195
ogy: that text blends ideas and words into a single mes- Effortful text is repellent
sage as threads are woven into cloth; and that text areas and will cause readers
Word spaces were nearly non- have a visual pattern that suggests fabric. With regard to to drop out: you will not
existent in Nicolas Jenson's 1470 the latter, just as cloth's texture varies with the weight and likely get a bonus for
Eusebius. They had widened by material of the threads being used, type’s texture depends doing that.
1761 in John Baskerville’s Aesop's on the letterforms' weight, angle of stress, and density.
Fables. The samples are upside- Though there is a good deal of overlap in the way Setting perfect text 199
down to show the spacing. text and display type are handled, their purposes are dif- Craft Is esential in text
ferent, which affects the details of text's setting. Display settings: it is where your
Linespacing indicates either type's purpose Is to be noticed, to convey meaning, and typographic knowledge is
horizontal orvertical reading to motivate the reader to the next “type opportunity.” most revealed.
in Japanese, which provides But the ultimate destination ofall display type is the text,
varied typographic texture. where the full story and, in ads, the sales pitch Is.

13 189
Acegmorty
10-point Scala Regular
Acegmorty
36-point Scala Regular

Acegmorty |
36-point Scala Regular reduced
Acegmorty
10-point Scala Regular enlarged

Acegmorty ‘here ee Acegmortyspabe gomty

10-point Scala Regular 24-point Scala Regular

Acegmortyjspabef gomty Acegmort

24-point Scala R bular redueed 10-point Scala Regular enlarged

An education isn’t how much you have committed to An education isn’t how much you have committed to
memory, or even how much you know. It’s being able to
differentiate between what you do know and what you memory, or even how much you know. It’s being able to
don’t. Anatole France I cannot give you the formula for differentiate between what you do know and what you
success, but I can give you the formula for failure, which
is: try to please everybody. Herbert Bayard Swope The don’t. Anatole France | cannot give you the formula for
right to be heard does not automatically include the right success, but I can give you the formula for failure, which
to be taken seriously. Hubert Humphrey Being frustrated
is disagreeable, but the real disasters oflife begin when is: try to please everybody. Herbert Bayard Swope The
you get what you want. Irving Kristol Tact is the knack right to be heard does not automatically include the right
10/10 Scala Regular with Italic 10/15 Scala Regular with Italic

An education isn’t how much you have committedto_, An education isn’t how much you have committed to
memory, or even how much you know. It’s being anteron meree or even how much you know. It’s being able to
differentiate between what you do know and what you differentiate between what you do know and what you
don’t. Anatole France don’t. Anatole France
I cannot give you the formula for success, but I can give I cannot give you the formula for success, but I can
you the formula for failure, which is: try to please every- give you the formula for failure, which is: try to please
body. Herbert Bayard Swope everybody. Herbert Bayard Swope
10/15 Scala Regular with Italic, op6 indent, which is too small for this linespacing to be visible 10/15 Scala Regular with Italic, 1p3 indent to match text's baseline-to-baseline distance

An education isn’t how muchh education isn’t how muc education isn’t how much you
have committed to memory, or even have committed to memory, or even have committed to memory, or even
how much you know. It’s being able how much you know. It’s being able how much you know. It’s being able
to differentiate between what you do to differentiate between what you do to differentiate between what you do
know and what you don’t. Anatole know and what you don’t. Anatole know and what you don’t. Anatole
France | cannot give you the formula France | cannot give you the formula France | cannot give you the formula
for success, but I can give you the for- for success, but I can give you the for- for success, but I can give you the for-
mula for failure, which is: try to please mula for failure, which is: try to please mula for failure, which is: try to please
everybody. Herbert Bayard Swope everybody. Herbert Bayard Swope everybody. Herbert Bayard Swope
 were pene sswet ING St BARINGS

A women's magazine uses clas- A stock photography company |

Removing line spacing creates | bank's sales message, which is
sic newspaper column struc- shows, rather than tells, "a pic- | overlapped lines of text, which a bit disguised though entirely
ture and typography- and spins ture Is worth a thousand words” | reveals a texture or pattern | legible, is in the paragraph im-
traditional 1960s breakfast by abstracting the image with of text-size type that, while mediately beneath the space
reading material - in an edito- empty text columns. intentionally illegible, evokes between “in a word" and the
rial promotion. | a feeling of city buildings. This "ING" of the logo.

Text's letterspacing needs to Space and text type

be more open than display The goal of superior text typesetting is even “type
type’s so each letter can be color.” This is achieved by balancing, on the one hand,
more distinctly seen. Text's individual letters and groups of letters as words and,
word spacing must proportion- on the other hand, words and unified lines of type. Too
ally follow. much spacing weakens words and lines. Too little spacing
sacrifices letters and words. “The greatest literary mas-
Have more linespacing than Wi Between characters: Optimal text character spacing terpiece is no more than an
word spacing to force the eye must be more open than display type's to compensate alphabet in disorder.” Jean
across lines of type. Optimal for its small point size. Space between a specific pair Cocteau (1889-1963), writer
line length is about fifty-five of characters is kerned. Space between all characters and artist

characters per line (as shown in a paragraph Is tracked.

in this example). If longer than i Between words: Optimal word spacing Is inconspicuous
that, add more linespacing. and barely separates word-thoughts. It never breaks a
line of type into chunks. Word spacing is seen In
Indents should be the same proportion to letterspacing: tight letterspacing goes
distance as the baseline-to- with tight word spacing and loose with loose.
baseline distance of the text. M@ Between lines: Optimal linespacing must be greater
On the left, it is only six points than word spacing so the eye travels horizontally.
deep. On the right it 1s 1p3, or The space should be sufficient so descenders and
fifteen points. ascenders don't overlap, but not so great that It
breaks up the integrity of the column.
Column spaces should be @ Between paragraphs: A paragraph contains a single
significantly larger than word idea. Each paragraph must be perceived both as an
spaces to avoid confusion and entity and as part of a string of ideas. Separate para-
ue
readers’ "jumping the gutter." graphs with an indent, a hanging indent, or addi-

13) 1.
 A VOGUE A fine pair of shoes, like a good play, has great lines. But
= a that’s only the beginning. Now comes the presentation. When
a DELMAN salesman, for example, tries a pair of shoes on you,
he doesn’t just try them on for size. As you place your foot into
his hands...he is at once the professional analyst and connoisseur,
determined to go to any length to make your future even more fitting
and befitting. With all due apologies to Mr. John Daly and the illustrious
panel of “What's My Line?,” a DELMAN salesman both performs a
service and has a product in mind. You'd be surprised
how nicely it works out that way.

RN hoe (arr OT WOUBNL ENO Aho

RRL ae me LN CARON 4
ot

MENEA “AMOUNEDS em ey AF-S pe wat ee Leh PenALAOY ade HA Amtek “weKgaNly east o> SUNKEN MAyprens ee
z

| aSone 0) SaEreyeNS Em SAN onga SHAE AeNNina euyn “IAEA MINA tp anaes © Dapp May myn FRONAD EE :
rFF | at equany sotenat aa snantes wenempnad arog on arms ooriyuy Buais Je nas ev ime :
ry
EE « 7i etteenieeetneee ere i aof
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ban ieeeFetes mete ting statin eet
Ef wig ayLess |
ate ny and an
3 typeface are chenen (tor lmgibility. Type ts net foe reanlanitity, The peeper aelections of bik anal Aime pape be H
Hy t
freer Inter te letter, emtsping mach Imtaye with lgMteving-tite ection. Perception apelty the wont tn a fash. Your oni i
foie)
along
races
nense
Viewing
oftype.
tracks
this
sage
Run your eyes around these pages: vu erecornish mubite powsrfurVe mind: Wasterthanthe wviftent greyheumd, your

EAGLE VISION. NOT INTENDED

FOR THE GENERAL PuBLiC, &

Cote. Hates the schentiat, (ea mare Hingths. Mut coker 1s more. eave thee artist coke ty the Keghtend
tree a1 Christeman, Arwwactsomthe Fourth of July, the Mardi Gran, the Rest Bowl gares, New
Year's Crt on Tiemae Square, thee Monee vendor sith hte pushoart crowded with erent the tet

Le stheaten mith cater. Amd a

 Teamhaben
The
AES

TODAY'S
HALF
THE GRIND
BECAUSE
TONIGHT’S TWICE
THE GRIDIRON: #Ge
anti-shoe.
Were
We're
anti-boot.
We're
anti-sandal. behind
get
we
that
Mow
that?
of
all
do
can
that
feet
your
on

Type as imagery: Herb Lubalin's The standard column structure | Decreasing type size is the sec- magazine clockwise to read
1958 ad for Holiday magazine is adhered to, but the shape of | ond most remarkable feature the ad, the attitude of which
that lists clothing advertisers. the column bottoms is cropped | of text in this spread ad. It is is well interpreted by being so
The hanger does all the work to accommodate a very unusu- | necessary to turn the whole against-the-grain.
to make us see type as imagery. al ad shape in this New York
Times spread.

Text as hair and dress: tional space between paragraphs. 4] Paragraphing

1962 Vogue ad by Malcolm may also be achieved through use of a dingbat, allow-
Mansfield; a 1959 shoe ad ing continuous text. The first paragraph of text should
by Reba Sochis. The more never be indented: it spoils the clean left corner and
pronounced the shape, the it is a redundant signal - the typographic contrast
more attention is put on the between deck and text indicates a new idea.*
treatment - and the less on @ Between text columns: Optimal column spacing must
the content. be greater than a word space so readers won't acci-
dentally “jump the gutter" while reading, but not so
Text as racetrack, rain, sea- great that the columns look unrelated. A pica space
water, and emotion: Bradbury between columns and between text and image ina
Thompson's Westvaco /nspira- runaround Is optimal to separate but not dissociate.
tions paper promotions included “The attention must not be on
Run your eyes around these Text abstraction the graphic but on the mes-
pages and Color/Fishing from While it is good to abstract display type, text type sage. The graphic should be
1949. A more recent car ad should be treated so its legibility is paramount. Energy transparent. Choose (informa-
shows text as rain. Otto Storch’s has been spent designing the imagery and display type tion that is significant to the
1960 spread for McCall's maga- to lure the browser into the text, where the greatest story reader), focus on it, make it
zine shows playful text use. value can be found. After successfully getting the reader clear and accessible. Do not
into the text, yours has been a wasted effort if the reader focus on the containers of
*Paragraph indents are a rem- bails out because the text has too many characters per the information.” John Scully
nant of incunabula printing in line, or is poorly spaced, or is too small or too light, or a (1939- ), president of PepsiCo
which space was left for a ru- busy background makes reading impossible. and Apple
bricated (handpainted) initial. This isn't to say you can't reveal meaning in the way
After a while, the space alone text is handled. When text abstraction is to the point,
indicated another beginning. readers may respond. “A free-shaped area, wherever It

lSsi9s
Acegmorty spabefgomty Acegmorty spabefgomty wun Acegmorty spabefgomty wun
wundrick vox dahlz whim drick vox dahlz whim quest drick vox dahlz whim quest
quest ace mordich al safen ace mordich al safen gomby ace mordich al safen gomby
gomby Spago Centaur Regular 12pt spagofa MeNiC Ellington Regular 9pt spagofa menice The Mix Regular 9pt
Acegmorty spabefgomty Acegmorty spabefgomty Acegmorty spabefgomty
wun drick vox dahlz whim wun drick vox dahlz whim wun drick vox dahlz whim
quest ace mordich al safen quest ace mordich al safen quest ace mordich al safen
gomby spagofa Futura No.2 Ipt gomby spagofa interstate Light 9pt gomby Sp Grotesque MT Regular 9.5pt

Serif type can be set without Sans serif type lacks the serifs This is an improved sans serif
additional linespacing because that aid reading. This paragraph paragraph, set with two points
its serits force open letterspac- is Set as if it were serif type: no
of additional line spacing and
ing and emphasize horizontality. additional line spacing and no
This is 10/10 Nicolas Jenson letter spacing adjustment. This 10% increased letter spacing
SG set across a Q-pica column is 10/10 News Gothic Regular It is 10/12 News Gothic set
with an average of about 30 set across a 9-pica column, with across a 9-pica column, with
characters per line. Serif type an average of 32 characters per an average of 28.5 characters
can be set without additional line. Sans serif type lacks the
per line. This is an improved

This paragraph is set 10/12 with too many characters per line for optimal legibility.
Well-set text has 50 to 60 characters per line, including spaces and punctuation. This
paragraph has about 80 characters per line, or 25 characters more than it should, mak-
ing this text tiring to read for more than two or, at most, three lines. To maximize
legibility, there must be more linespacing, enough to make a white bar for each return.
There are two ways to get 50-60 characters per line. One
is to enlarge the type and keep the measure. The other is to
keep the type size and the line spacing, but shorten the
measure to the correct length of fifty to sixty characters
per line. This paragraph is set 10/12 with an average of
58 characters per line for optimal legibility. This para-

A flush left setting puts! AE} ustified=settin 2 Properly-set justified text requires a
all excess space at the? dividesBexcess=space minimum of five word spaces per line
right end of each line# betweenEwordEspaces to absorb leftover space. This makes
Word spaces are all== and-characters.2This the variations among word spaces less
exactly the same width! looks!badly’whenithere conspicuous. Properly-set justified text
and make reading == isstoosmuchEspaceEand requires a minimum of five word spaces
easier. There are two too!fewispaces.fAfjust- per line to absorb leftover space. This
kinds of ragged edge,® ifiedEsettingEdivides makes the variations among word spaces
 ASCII Alphabet
Text type should be sized —¥ T
A | 1000001 N | 1001110
according to its x-height, the B | 1000010 0} 1001111
c | 1000011 P| 1010000
height of the lowercase letter D | 1000100 Q}] 1010001
— | 1000101 R | 1010010
F | 1000110 Ss | 1010011
from baseline to median. The G } 1000111 T | 1010100
H 1001000 U 1010101
x-height, not the overall point 1 | 1001001 v | 1010110
J | 1001010 w{ 1010111
size, is the dimension
that makes K | 1001011 X | 1011000
L 1001100 Y | 1011001
type appear “small” or “big.” M} 1001101 Z| 1011010

| What is a letter? Aside from Text can be handled one sen- Playful interaction between
Serif versus sans serif: Serif can the familar shapes, an "A" is tence per line. Structure is given | text and image is explored in
be easier to read at text sizes | also a string of 1s and Os. with a flush left alignment: the | this brochure printed on tracing
because serifs create open ASCII code was first used in right ends can end wherever paper. Imagery Is printed on
letterspacing and horizontality. 1963 and was replaced by they must. Note there isn't any - the backs of the sheets, build-
Serif faces also have more con- UTF-8 in 2008. display type on this ad. | ing a multilayered richness.
trast between thick and thin
strokes. Compensate by adding occurs, must be a spontaneous and natural typographic
linespacing to sans serif settings. expression of the copy; the copy should almost insist, of
its own accord, that it be set this way,” wrote Carl Dair in “Would you read this if you
Line length should be fifty to Design with Type. Similarly, Bradbury Thompson believes, hadn't designed it?”
sixty characters per line for max- "A sense of freedom to forget the columns and grids of Anonymous

imum legibility. Lines with more typographic traditions lets the designer work in an atmo-
than sixty characters require sphere in which to playfully mix words and images.”
additional linespacing so read- Abstracting text to make a point Is a worthy aim,
ers Can easily trace back to the but caution is key: abstraction is dangerous because
left edge of the column. A type- text's small size makes illegibility a constant worry. And
face with a large x-height re- besides, using abstraction in text to catch an already
quires more linespacing than a caught reader Is a waste of energy.
face with asmall x-height,
which
has “built-in” horizontal space. Effortless text
This paragraph is meant to be read: Text type must be effortless to
read, that is, it must be without visual static. This is achieved by choosing a
Justified versus flush left: A good typeface, making it big enough to read, giving it invisible letter, word,
and linespacing, and giving it maximum contrast with its background. This
justified setting distributes left- paragraph has all the attributes that should not be given to text: it is bold
italic, which can only be read in very short passages; it is small, nine-point Please note: This first para-
over space within each line, but
type, which cannot be followed for more than forty characters per line; the
there must be at least five word letter and word spacing has been tightened to 60 percent of normal; the graph Is effortful text. Try to
linespacing has been set solid, meaning the necessary horizontal white bars
spaces per line to absorb the between lines of type have been reduced to uselessness; and the contrast read It anyway.
between type and its background has been compromised by an illustration.
variations. Flush left type is
Why would | make this text sohard for you to read? Maybe | am unaware
easiest to set well. The only de- of the difficulty |am causing. Maybe | think it would entertain you to have
a whale in the background. Or maybe | think it would be novel to try these
cisions are whether to allow hy- “stylings” because | am bored setting type so it is “ordinary” and legible.
phenation (always), and where Some text types are inherently more legible and should
to set the hyphenation zone be chosen over other faces. A legible face should then be
(half a pica or less is best). sized for clarity. Text ranges from nine to twelve points, but

139195
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A full-page newspaper ad uses | Impossible-tovead text (small, Text looks effortless when there | Effortless text is easy to absorb.
two sizes of text to indicate | dark gray on black, twice the | are optimal characters per line It makes content look impor-
body shapes. It isn't necessary | characters per line as is sensible) and its structure looks simple tant and cared for, not merely
to read any of the text: just makes red key words aneasy and accessible - especially in typeset using defaults. This
skip to the all-caps WEAR THE alternative. It reads: “/aces were | comparison to vibrant imagery marketing book is a statement
PANTS above the belt line. | Just an excuse to stop running” and infographics. of caring about details.

Paula Scher's “art Is...” poster faces with large x-heights can be set from nine to eleven
for the School of Visual Arts points, while faces with small x-heights should be set
uses the handlettering style from ten to twelve points for visual equivalency.
she developed in her typo- Consistent spacing is crucial to making text attrac-
graphic map paintings. Hand tive and easy to read. Poor type comes from letting the
lettering is hardly a new computer's default settings determine spacing attributes.
invention: it Is, in fact, the Text should always be defined as a “style,” so every at-
way scribes copied documents tribute will be considered in its definition. The goal for
(most often the Bible) until well-set text is a smooth, even color. “Just when we're old enough to
Gutenberg perfected movable Justifying text is a process that results in a smooth read bulky tomes in six-point
type in about 1450. Scher's right edge, as in this paragraph of text you are reading. type, our eyes are only fit for
gift is being able to produce The extra space at the end of each line is equally divided the humongous letters, sur-
lettering with consistent tone, among the word spaces on that line. When there aren't rounded by lots of white space,

even as she fits the writing enough words per line, this creates exaggerated word found in children’s books.” Luis
into irregular shapes. spaces. When a few such lines with poor spacing are F. Verissimo (1936- ), writer
stacked, they form a “river” of white - an ugly vertical
gap (see page 169).
Flush-left text has consistent word and character
spacing because all leftover space is in a chunk at the
end of the line. The resulting right column edge Is said
to be "ragged." A “rough rag" is produced by turning off
hyphenation. A “tight rag," in which the lines are more
even, is made by setting the hyphenation zone to a half-
pica or less. | have found ideal ragged right setting with
a hyphenation zone of Op], a single point.
Text type often has its own latent shape and struc-

3 SY
 Setting imperfect text
Don’t indent the A cluster of
first paragraph of OUR USE OF TYPE is based on centuries of typographic tuphens is a
text. It spoils the evolution, on hundreds of improvements based on effi- “ladder,” which
clean left edge of severely compro-
the column and is a ciency and economy in our need to record and distrib- mises the right
redundancy. edge of @ cofumn.
ute ideas. Some standards are carried over from scribes’
Underfining for Italics must be
emphasis is a type-
handwritten copies of books, some are more recent inven- selected from
writer leftover. Use tions from the days of metal type, and still others‘are mod- the font menu.
true italics. Keyboard short-
As display type,
ern developments from digital type. cuts may produce
initial caps deserve Perfect typography is a logical art. It is based on har- an obliqued roman.
careful adjustment.
The first fine of
mony in all its parts - the right decisions are those that get Hang punctua-
tion in the margin
text should relate the message to the reader with the least visual static. for a clean right
to the initial and the column edge.
initial’s baseline s Ms. C. L. Janakova said in 1915, "The spaces after
Hyptens break
must agree with a
text baseline.
periods in names should be half the width" of a words and. com-
normal word space. Never leave two spaces after a pound words. Use
Primes are not the the en-dash
same as quote marks. period and ‘alot’ is always two words, ‘a lot.’ to separate
phrases.
Default spacing It sometimes seems there are fifty tiny typo-
attributes have pro- Maximize contrast
duced word spacing graphic steps to setting perfect text. @ between text
that is much too open. and background.

Setting perfect text

True smaff caps OUR USE OF TYPE is based on centuries of typographic When word
are designed to
match the weight evolution, hundreds of improvements based on efficiency spaces become
too big, manually
of lowercase letters.
This is important and economy in our need to record and distribute ideas. open fetter-spac-
ing. Select the
in initialized names Some standards are carried over from scribes’ handwrit- fine and force
fike AAA, IBM, rio space in until
nec. Smaff caps are ten copies of books, some are more recent inventions just before the
found in expert and
SOC Ones:
from the days of metal type, and still others are modern fine breaks.

Ligatures replace developments from digital type. Old styfe fig-

ures [ook fike
overlapped character
pairs fike fi and ff.
Perfect typography is a logical art. It is based on har- fowercase num-
bers and blend in
Additional figatures, mony in all its parts — the right decisions are those that with lowercase
fike the ffi used in text. Use fining
thts example, are get the message to the reader with the least visual static. figures, which
found in expert sets. i fook fike capital
A s Ms.C.L. Janakova said in 1915, “The space after numbers, t
So-calfed measure- ttt i
ment quotes ' and " hy
—— ,=S periods in a name should be half the width” of all-caps settings
are wrong. Reaf and charts.
quotes fook fike “66” fy & a normal word space. Never leave two spaces A story-ending
and “99”
after a period and “alot” is always two words, “a lot” bug should be
added to @ text
It sometimes seems there are fifty tiny typographic font so its size
is always in pro-
steps to setting perfect text. @ portion to the
bext.
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Indent turnovers on bulleted Align decimals in charts to An ellipsis is a three-dot char- A beautifully typeset,
lists to make beginnings stand make figures comparable. Use acter that indicates a pause letterpress-printed chart
out. Create a style with a 1p0 the {° arrow on the tab ruler. or an extracted segment. It is shows accented characters in
left indent; -1p0 first line; and not the same as three periods thirteen European languages.
a tab at 1p0. (top): it has been crafted to Shown at half original size.
| look right in a text setting.

Having invested so much in ture. For example, a recipe is entirely different copy from
getting a browser to become an interview. Setting a recipe as if it were dialogue would
a reader, text is not the place not express its step-by-step nature. Recognizing the
to be unnecessarily creative. nature of the copy at hand leads to the right decisions
Make text as effortless to read that will produce authentic typography.
as possible: don't impede the
copy in Its job of conveying Setting perfect text
crucial information. Clarity Informed use of type compensates for the “incorrect”
and craft are very important application of typographic conventions. Shown opposite
in text setting. Separate the and above are the most important adjustments for day- “In the end, writing that is

great from the good enough. to-day use. read must be intended to be
Incidentally, those who know To ignore or neglect these adjustments is to allow read ... There is an implicit
what to look for look at design- your type to be mere data entry. Attending to these obligation for the designer

ers’ handling of text type to details distinguishes work as being valuable and worthy to mediate between text

judge their competence with of the reader's time and as having been done by an and reader.” William Drenttel

typography in general. informed designer, which makes you look good. (1957- ), designer and author
The computer standardizes and repeats very well.
Use its strength by creating paragraph styles. This forces
you to consciously choose spacing attributes. It also
makes later document-wide changes easy: a change in
the style definition changes all type tagged with that
definition. The alternative, text type in discrete blocks,
each with its own ad hoc style, leads to inconsistencies.
Double check all hyphenated text yourself, whether
set in justified or flush-left lines. Built-in hyphenation
dictionaries invariably fail.

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David Crosby, Stephen Stills, Graham Nash & Neil Young

sit shoulder to shoulder on wooden stools around a forestof
microphones. On the far left, Stills plays a gentle riff ona -
snow-white. wide-body electric guitar. Across from him.
Young, wearing a red flannel shirt and a black baseball cap,
strums an acoustic guitar and sings “Old Man, from his 1972
album. Harvest.
Young's shivery tenor sounds fragile in the cold dark
space of the Convocation Center in Cleveland. But when the
other three enter the chorus with swan-diving harmonies -
“Old man. look at my life/I'm a lot like you” - the song blooms
with fresh meaning. Crosby Stills Nash and Young are no
longer the four young bucks who overwhelmed rock in 1969
with pedigree and promise. They are in their fifties. and they
sing “Old Man. ‘a reflection on passing youth and lost oppor-
tunity, with electrifying honesty. Unfinished business runs
deep in those bruised-gold voices.
There is no applause at the end - because there is no au-
dience. CSNY are in final rehearsals for their first concert tour
since 1974. Opening night. in Detroit, is four days away. But to
hear this band ina big. empty room is to experience magic in
its native state. Everything that makes CSNY one of rock's
premier melodramas - drugs; feuds: Crosby's 1994 liver trans-
plant and new celebrity as a sperm donor for lesbian moms
Melissa Etheridge and Julie Cypher; Nash's boating accident _
BY DAVID FRICKE >>> PHOTOGRAPHS BY MARK SELIGER >
 A love ofletters is the beginning
of typographical wisdom.
That is, the love
of letters
AS PHYSICAL ENTITIES,
having abstract
beauty of their own,
Marat Black “DANCE LITTLE MAN, DANCE!” =
apart from the ideas
THEY MAY EXPRESS. Sens
Romans used the line that sep- Setting custom defaults in Perfect text settings are often Text can be creative: this has
arates the numerator and the paragraph styles at the start found in type “showings,” de- been scribed from the back of
denominator, calling it a "virgo- of a project takes time. But it signed to present a typeface to the paper and photographed.
letta.” But conflicts with setting builds in quality, saves time very best effect. Defaults are Advertising text can get away
fractions in metal caused experi- later, and ensures consistency overridden for ideal spacing with a little more than editorial:
mentation until about 1650. throughout a project. attributes. the message must first be seen.

Text can serve as a caption or Indentions, in points to match the linespacing, should
label as in this spread ad for be part of the paragraph’s style definition.
Discovery.com. Each line oftext A widow \s a short phrase, word, or part of a word
is a Web address starting with that Is a paragraph's last line. An orphan is a widow at the
Discovery.com, indicating the top of a column. Widows are generally okay, but orphans
thorough usefulness of the site will get you a reprimand from the Type Police. Absorb a “Justifying and hyphenation
as a source of information. The widow by editing it out or manually forcing tighter spac- increase the cognitive load.
listing over the center woman's ing on the next-to-last line. People read text more easily
chin is "www.discovery.com/ Fractions, from the Latin “frangere,” meaning to if it is arranged according to
health/choking/heimlich." break (and related to fragment), were called “asses,” with meaning rather than shape,
sixteen asses making a denarius. One twelfth of an “as' that is, if its shape reflects

Rolling Stone magazine has was an uncia, which came to be known as an ounce and the inner meaning rather
long been a source of excellent an inch, depending on whether weight or distance was than having been poured into
typography. This is the third being measured. Today, common fractions like V4, 2, and its shape.” Karen Gold, New
spread in the story and, save 3/4 can be found in most fonts and in expert fonts. In InDe- Scientist

for a single large ampersand, it sign, look under Window > Type & Tables > Glyphs. Any
is the first appearance of any fraction can be made from three pieces: the numerator
type at all. This opening page (top number) is set in superscript (in Preferences > Type
is typeset as carefully as if it > Advanced type, set Superscript size at 60 percent and
were display type - because Superscript position at 28 percent) and the denominator
it really is. An ideal character (bottom number) is set in subscript (set Subscript size at
count per line, narrower-than- 60 percent and Subscript position at O percent).
usual margins, conscious para- Perfect text is one element of a successful page.
graph indention: it is excellent But the success of a page Is only as good as the power
type craftsmanship that an- with which it communicates and the effortlessness with
nounces the story's value. which it does it.

13 201
 Glossary

Abstraction Making non-representational, Basic size A sheet size for each of the typeface.
non-literal, generally increasing an object's standard paper grades that determines its Brightness The reflectivity of paper. Low-
visibility. basis weight. The basic size of book paper er brightness absorbs more light, making
Achromatic color Having no hue; shades is 25"x 38". The basic size of cover stock Is reading more difficult. Higher brightness
of gray from white to black. YO) AS". means a whiter sheet of paper, costs more,

Aesthetics The study of the judgment of Basis weight The weight in pounds of a and lends a sense of quality.
beauty and ways of seeing and perceiving ream (500 sheets) of paper cut to its basic size. Cap height The height of capital letters,
the world. Beardline Invisible line that indicates the measured from baseline to top of the let-
Aldine Typography that appears to have bottom of descenders. terforms.
come from Venetian printer Aldus Manutius, Binding Attaching sheets of paper Centered Alignment in which the mid-
c1500. together for ease of use and protection. points of each element are positioned on
Alignment Having elements’ edge place- There are five methods of binding: edition a central axis. The left and right edges of
ment agree. Optical alignment Is always binding (sixteen-page signatures stitched such a column are mirror images.
more important than measurable alignment. together), mechanical binding (plastic Chancery A handwritten typestyle with
Anomaly An element that breaks a visual rings or combs inserted in drilled holes), long, graceful ascenders and descenders.
system and becomes the focal point. perfect binding (glue spread on the pages’ Character Any letter, numeral, punctua-
Aperture See Counter. edges), saddle-stitched binding (stapled tion mark, figure, etc.
Apex The area of a letterform where two through the fold), and side-stitched bind- Character set The letters, figures, punc-
lines meet as in A, M, V, W. ing (stapled through the front). tuation marks, and symbols that can be
Archival paper Paper that is alkaline Bitmap A character image represented as displayed on a monitoror output by a printer.
and won't deteriorate over time. Cannot a pattern of dots. See Outline. ; CMYK (Cyan, Magenta, ¥e!/ow, Black)
contain any groundwood or unbleached Blackletter Heavy, angular types based The subtractive color process used in color
wood fiber. on medieval script writing. The five catego- printing. “K" stands in for “B," which might
Ascender The part of lowercase letters ries of blackletter are Bastarda, Fraktur, be misunderstod for “blue.”
that extend above the median in b, d, f, h, Quadrata, Rotunda, and Textura. Coated paper Paper with a layer of matte,
k, |, t. See Descender. Bleed Extra image or letterforms printed dull, or gloss coating applied. Coated
Asymmetry Not balanced; not the same beyond the trimmed edge of a page. See paper keeps ink from absorbing into the
on both sides. See Balance and Symmetry. Full-bleed. paper, making images crisp.
Backslant Type posture that slants to the Blind folio A page that has no visible Cold type Printing which is not produced
left. Compare to Italic, which slants to the page number printed on it. In magazines, by the hot-metal process. Involves the use
right. Uncommon and difficult to read in often found on feature openers with full- of founders’ type, phototypesetting, or
any but extremely short segments. bleed imagery. electronic (digital) setting. See Hot metal.
Balance A state of equilibrium, whether Body copy The primary text of a story. Colophon Information placed at the end
by symmetry or weighted asymmetry. Usually identified by a medium weight and of a book that describes its production.
Bar The horizontal stroke of a letterform a body size of eight to twelve points. Color management Program that admin-
like F, H, T, Z. Body size See Point size. isters scanners, monitors, printers, proofs,
Baseline Invisible line on which letter- Bold A typeface style that is heavier and and the color characteristics of printing.
forms sit. wider than the roman style of the same Color, typographic The lightness or dark-
ness of gray that a type area creates. Typo- measure of resolution. the type size being used: ten-point type,
graphic color is affected by the type’s size, Drop cap A large initial set into the top measured vertically, has a five-point wide
posture, weight, linespacing, and tracking. left corner of body copy. A drop cap’s base- en-dash. The en dash separates numbers
Column rule A thin line between columns line must align with a text baseline. See and should not have spaces added on el-
of type. Stickup initial. ther side: 555-666. Also used in place of a
Condensed A narrow version of a typeface. Drop folio A page number placed at the hyphen for multiple-compound words.
Contrast The degree of difference be- bottom of a page when most page num- Ethel A French ligature of the o and e let-
tween light and dark areas in an image. bers are positioned at the tops of pages, as ters: @.
Extreme lights and darks are high-contrast. , in the first page of a chapter of a novel. Extended A wider version of a typeface.
A full range of grays is low-contrast. Dummy An unprinted mock-up of a book, Also called expanded.
Contrast, typographic The amount of magazine, or brochure. External relationships Design relation-
variation between thick and thin strokes Duotone A two-color halftone, usually ships that are forced on elements, as by a
of a letter. black and a second ink color. The result is grid. See Organic relationships.
Counter The space, either completely or an image with more richness and depth Family A group of typefaces derived
only partially closed, in letterforms like a, e, than a standard one-color halftone. from the same typeface design. Usually
o,u, andA, B,C, S. Ear Small stroke attached to the g and r. includes roman, italic, and bold versions.
Creative Using the imagination; having Elegance An ideal condition in which May include small caps, old style figures,
original ideas; experimental, fresh. nothing can be added nor taken away expanded, and condensed versions.
Crop marks Thin lines added to the pe- without injuring the design. Figures, lining Numerals that are equiva-
rimeter of a design to show where to trim Ellipsis A single character of three dots lent to the cap height of the typeface. To
the finished print job. indicating an omission. The spacing of an be used in charts and in all-caps settings.
Cursive Typefaces with fluid strokes that ellipsis (...) is tighter than three periods in Also called ranging figures. See Figures,
look like handwriting. a row (...). old style.
De-inking Removing ink and other addi- Embossing |mpressing an image in relief Figures, old style Numerals that vary in
tives from paper in the recycling process. to achieve a raised surface In paper. A height so they blend into a paragraph of
Descender [he part of lowercase letters sunken image Is called a deboss. text. Sometimes mistakenly called “lower-
that extend below the baseline in g, J, p, G, y. Em dash The longest dash in a typeface. case figures.” See Figures, lining.
See Ascender. An em dash Is the same width as the type Finish The surface texture of paper.
Diagram Visual but non-representational size being used: ten-point type, which is Fleuron French for flower; a stylized floral
explanation of a process or relationship. measured vertically, has a ten-point-wide ornament.

Die-cutting The process of pressing sharp em dash. The em dash separates thoughts Flush A typographic term meaning
steel blades through paper to create a hole within a sentence and should not have aligned or even. Type can be set flush left,
or shape, thereby enhancing the dimen- spaces added on either side: xxxxX—XXxx. | even on the left and ragged on the right;
sionality of the printed product. frequently bend this rule, replacing the em flush right, even on the right and ragged
Dingbat I|lustrative characters in a type- dash with an en dash surrounded by two on the left; or flush left and right, more
face. Spaces: XXXX - XXXxx; the em dash Is simply properly called justified.
Display type Letterforms whose purpose too wide in many typefaces and draws at- Folio A page number.
is to be read first. Usually identified by a tention to itself. Font A set of characters that share com-
large body size and bold weight. En dash The second-longest dash ina mon characteristics. Also called Typeface.
dpi Abbreviation for “dots per inch," a typeface. An en dash is half the width of Foot margin The space at the bottom of a

Glossary 203
page. See Margin and Head margin. that begin or end with punctuation to ex- and a, or it is probably an oblique version.

Foundry The place where type Is manu- tend a bit beyond the column width for op- See Oblique.
factured. A foundry was originally a place tical alignment. Its use reveals typographic Justification Aligning both the left and
for metalwork; modern type foundries are sensitivity and craftsmanship. right sides of a column of type.
digital. Head margin The space at the top ofa Kern Removing space between specific
Four-color process A printing process page. See Margin and Foot margin. letter pairs in order to achieve optically
that uses magenta (red), cyan (blue), yel- Hexachrome Hi-fi (see) printing that uses consistent letterspacing. See Tracking.
low, and black inks to simulate the continu- six colors ofink. Leaders A line of dots that lead the eye
ous tones and variety of colors in a color Hi-fi color CMYK printing with the addi- across a wide space. Often found on con-
image. See CMYK. tion of two to four colors for a wider color tents listings.
Full-bleed Imagery or letterforms that run range. Leading (“Ledding”) Space between lines
off all four edges of a page. See Bleed. High-res (High resolution) An image that of type that appears between the descend-
Gatefold A page that is folded inward to has sufficient sharpness, measured in dpi, ers of one line and the ascenders of the
make an extended spread. The most fa- to make it suitable for quality printing. next. Digital leading is added above a giv-
mous gatefold is the Playboy centerfold. Hinting Mathematical formulas applied en line of type. The name comes from hot
Geometric Characterized by mechanically- to outline fonts to improve the quality of metal days when actual strips of lead were
rendered lines and shapes. Contrasts with their screen display and printing. inserted between lines of poured type.
organic or biomorphic. See Organic. Hot metal Typesetting and the printing Lead-in The first few words of a paragraph
Gestalt Cumulative perception of parts as process that involves casting type from set to attract attention.
a whole. molten lead. Legibility The ability to distinguish be-
Grain The direction that most fibers lie in Humanist Letterforms that look a bit like tween letterforms; the recognizability of
a sheet of paper. This is important in fold- handwriting, or at least don't look too me- an object for what it is, easy to read, clear,
ing and tearing. chanical or geometric. Identifiable by hav- plain. See Readability.
Grotesque Another name for sans serif ing a humanist axis, or angled emphasis Letterspacing A term used to describe
type. So called because it was considered related to handwriting. general spacing between letterforms. See
ugly when it was introduced in the mid-1800s. Imposition Arranging pages so that when Kern and Tracking.
Gutter The space between columns of they are printed and trimmed, they will ap- Ligature Conjoined pairs or trios of char-
type and between facing pages of a book pear in correct order. acters into one, as in fi and ffl, for optical
or magazine. Incunabula "Cradle", used to describe consistency.
Hairline The thinnest line an output products from the first fifty years of print- Light or lightface A lighter variation of
device can make. Usually V4 point. ing with moveable type. the density of a typeface.
Halftone A printed image in which contin- Information mapping Data organized Line The trace of a point in motion. See
uous tone is reproduced as dots of varying to show relevance and connections, as a Point Line Plane
sizes. diagram or chart. See Wayfinding. Linespacing See Leading.
Hanging indent A paragraphing style in Ink holdout Resistance to the penetration Margin The space at the inside and out-
which the first line pokes out to the left. of ink. Coated paper has high ink holdout, side of apage. Also called side margin. See
Also called an outdent or flush and hung. making images look sharp. Foot margin and Head margin.
Hanging initial An initial letter placed in Italic Types that slant to the right. Must Mass An area of definite size and weight.
the margin next to body copy. have letters that are distinctly different Match color A custom-blended ink that
Hanging punctuation Allowing lines from roman version of the typeface, like a matches a specified color exactly. There are
several systems, including Pantone Match- rally. See Geometric. Point The smallest unit of marking, regard-
ing System and Toyo. Also called spot color. Organic relationships Design relation- less of exact shape. See Point Line Plane;
Median The invisible line that defines the ships that are found and exploited between One-seventy-second of an Inch, or one-
top of lowercase letters that have no ascen- the specific elements at hand. See External twelfth of a pica. The basic unit of vertical
der. Also called mean line and waist line. relationships. measurement of type. See Pica.
Minus leading Removing space between Orphan A word or word fragment at the Point Line Plane The three most basic
lines of type to give it a more unified and top of acolumn. A sign of ultimate care- shapes in design. These shapes become in-
darker look. Should always be used with all lessness. See Widow. teresting when each perceptually blurs into
caps display type and with great care on /
Ornament Decorative character used to the other two - when a point appears as a
U/Ic display type to keep ascenders and embellish typography. short line or a small plane, for example.
descenders from overlapping. See Leading. Outline The mathematical representation Point size The size of a typeface measured
Moiré A pattern created by rescreening a of a character that can be scaled to any from just above the top of the ascenders to
halftone or by printing two halftones on top size and resolution. just beneath the bottom of the descenders.
of each other out of register. Pronounced Papyrus An aquatic plant found in Also called body size and type size.
mwah-RAY. northern Africa. Used as early writing sub- Posture The angle of stress of a typeface.
Monochromatic color Containing or strate, it was peeled and placed in layers. There are three postures: roman, italic or
using only one color and its shades. The naturally-occuring glues in the fibers oblique, and backslant.
Monospace Typefaces in which each char- bonded into sturdy sheets. Preflighting An evaluation of every com-
acter occupies the same horizontal space. Paragraph A distinct section of writing ponent of adocument needed to print it.
A leftover from typewriter technology. See dealing with a single theme or idea. Proximity Relative nearness in space,
Variable space. Parchment A writing substrate made time, or relationship; closeness.
Oblique An angled version of a roman from treated animal skins. Readability The quality and experience
typeface in which the same characters Pattern A repeated motif or decorative of reading, determined by letterspacing,
have been slanted to the right, not re- design in regular intervals. See Texture. linespacing, paper-and-ink contrast, among
drawn. See /talic. PDF (Portable Document Format) Adobe's other factors. See Legibility.
Octothorp The number or pound sign (#). file format that allows users to view and Recto The right-hand page of a spread.
So named because it indicates eight farms print documents regardless of computer Always odd-numbered. See Verso.
surrounding a town square. platform or originating program. Resolution The number of dots per inch
Opacity A measure of how opaque a sheet Phototypesetting Setting type by means (dpi) displayed on a screen or by a printer,
of paper is. Low opacity allows printing of light being exposed through a film nega- which determines how smooth the curves
on the back side to show through. Opacity tive of characters onto light-sensitive pa- and angles of characters appear. Higher
may be achieved through increasing sheet per. Introduced in the 1960s and replaced resolution yields smoother characters.
thickness or by adding chemical opacifiers. by digital typesetting in the 1980s. Reversed out Printing around the peri-
Optical alignment Adjusting elements or Pica One-sixth of an inch, or twelve points. meter of an element, allowing the paper
letterforms so they appear aligned, which Because it is divisible by points, and thus color to show through and form the object.
is more important than actually being accommodates type measurement, it is RGB (Red, Green, Blue) Additive color sys-

aligned. wise to use the pica for planning all design tem used in monitors and scanners.
Organic Lifelike, as might be found in space. See Point. Roman An upright, medium-weight type-
nature; a relation between elements such Plane The trace of a line in motion. See face style.
that they fit together harmoniously or natu- Point Line Plane. Rough rag Type set without hyphenation,

Glossary 205
causing a pronounced variation in line Spread A description of publication real type. In modern usage, one who practices
length. See Tight rag. estate: two facing pages. There is no such the craft and art of designing letterforms
Rule A line. thing as a “one-page spread.” A three- or and designing with letterforms.
Runaround Type set around an image or ele- four-page spread is a “gatefold.” Typography Literally “drawing with type.”
ment. The ideal distance Is 1 pica, or enough Stickup initial A large initial set at the Applying type in an eloquent way to reveal
space to separate, but not enough to disso- top left corner of body copy. A stickup ini- content-with minimal reader resistance.
ciate the type and image from each other. tial's baseline must align with the first text Type size See Point size.
Sans serif Type without cross strokes at baseline. See Drop cap. U/Ic Typesetting using upper and lower-
the ends of their limbs. Usually have consis- Stochastic screening Digital process that case letters.
tent stroke weight. assigns equal-size dots in variable spacing Uncoated paper Paper without a surface
Scale Comparative size, particularly useful to emulate a grayscale image. Also called coating.
in unexpected contrasts. FM (Frequency Modulated) screening. Value The relative lightness or darkness
Scholar's margin The outside margin wide Style Variations of a typeface, including of a tone.
enough for annotations. Traditional book roman, italic, bold, condensed, and ex- Variable space Type in which each
margin proportions are two units on the tended. character is assigned its own width as de-
inside; three units at the head; four units Subhead Secondary wording that explains termined by the characters’ inherent shape
on the outside; and five units at the foot. the headline and leads to the text. and width. See Monospace.
Score An impression or indentation in Symmetry Balance through equal distri- Verso The left hand page of a spread. Al-
paper prior to folding. bution of content, as through centering. ways even-numbered. See Recto.
Screen tints A percentage of solid color. See Asymmetry and Balance. Volume Three-dimensional space. In archi-
Serif Type with limbs ending in cross Texture The tactile experience of a raised tecture, solid volumes are buildings and
strokes. Usually have variation in the main surface. Translated to two dimensions, voids are spaces within buildings.
character stroke weight. texture is perceived as pattern. Texture is . Wayfinding Any navigation tool that
Semiotics The study of signs and their an attribute given to an area of type and is helps users orient themselves to their sur-
meanings. determined by typeface, size, linespacing, roundings. See /nformation mapping.
Silhouette The view of an object as a flat color, and column structure. See Pattern. Weight The darkness of a typeface.
shape; an object removed from its back- Tight rag Type set with a small hyphen- Widow A word or word fragment at the
ground. A partial silhouette is an object ation zone, causing minimal variation in end of a paragraph. Words are okay, but
whose background has been partly removed. line length. See Rough rag. word fragments are careless. See Orphan.
Slab serif Type with especially thick serifs. Tracking Adjusting space in a line or para- Word space Space between words. Sensitive
All Egyptian typefaces are slab serifs. graph. See Kern. to letterspacing: if one is open, both must
Small caps Capital letters drawn to be Turnovers Words that continue on a sub- be open. "Correct" word spacing is invis-
about the size of lowercase letters of the sequent line. ible: just enough to separate words but not
same typeface. “False small caps,” regular Typeface A set of characters of a certain enough to break a line of type into chunks.
capital letters set a few points smaller, ap- design and bearing its own name, like The lowercase / can be used as a guide.
pear too light. Didot, Franklin Gothic, or Plzen. X-height The distance from the baseline
Solid Type set without additional linespacing. Type family All styles and variations of a to the median in lowercase letters. So
Spot color See Match color. single typeface. May include italic, bold, named because it is the height of a lower-
Spot varnish Coating applied to specific small caps, etc. i case x, which has neither an ascender nor
areas to add glossy or matte highlights. Typographer Historically, one who sets a descender.
 Bibliography
York: Dover Publications, 1953.
The important thing about a bibliography is to use these road signs that Rand, Paul. A Designer's Art. New Haven:
point to further knowledge on a subject. Discovering books that help you Yale University Press, 2000.
understand and see design and visual communication in a new way is well Reas, Casey, Ben Fry, and John Maeda.
worth the effort. Processing: A Programming Handbook for
You may note that the majority of these books are released by the same Visual Designers and Artists. Cambridge,
few publishers. Visiting these publishers’ Web sites will lead you to many MA: MIT Press, 2007.

other worthwhile texts. A recommended reading list is also maintained at Remington, R. Roger, and Barbara J. Hodik.
tdc.org. Nine Pioneers in American Graphic Design.
Some of these books are out of print. Of these, a few are being made Cambridge, Mass.: MIT Press, 1992.
available again every year. Others can be found at online auction sites. Rondthaler, Edward. Life with Letters...As
They Turned Photogenic. New York: Visual
The Type Directors Club Annual. New York: Heller, Steven, and Philip B. Meggs, eds. Communication Books, Hastings House
Harper-Collins Publishers, published annually. Texts on Type: Critical Writings on Typogra- Publishers, 1981.
Bringhurst, Robert. The Elements of Typo- phy. New York: Allworth Press, 2001. Ruder, Emil. 7ypographie: AManual of
graphic Style. Point Roberts, Wash.: Hart- Hutchinson, James. Letters. New York: Van Design. Adapted by Charles Bigelow. New
ley & Marks, 2004. 3rd ed. Nostrand Reinhold Company, 1983. York: Hastings House, 2002.
Burns, Aaron. Typography. New York: Rein- Kunz, Willi. Typography: Macro- and Micro- Sagmeister, Stefan. Made You Look. Lon-

hold Publishing Corp., 1961. esthetics. Sulgen, Switzerland: Verlag don: Booth-Clibborn Editions, 2001.
Carter, Harry. A View of Early Typography Niggli, 2004. Skolos, Nancy and Thomas Wedell. Type,
Up to About 1600. Oxford: Hyphen Press, Leborg, Christian. Visual Grammar. New Image, Message: A Graphhic Design Lay-
facsimile reprint 2002. York: Princeton Architectural Press, 2006. out Workshop. Gloucester, MA: Rockport
Elam, Kimberly. Grid Systems: Principles Loewy, Raymond. /ndustrial Design. Wood- Publishers, 2006.

of Organizing Type. New York: Princeton stock, N.Y.: The Overlook Press, 2007. Spencer, Herbert. Pioneers of Modern Ty-
Architectural Press, 2005. Lupton, Ellen and Jennifer Cole Phillips. pography. Cambridge, Massachusetts: MIT
Fertel, Dominique. La Science Practique de Graphic Design: The New Basics. New York: Press, 2004. Revised ed.
I‘lm-primerie. 1723. Reprint: Farnborough, Princeton Architectural Press, 2008. Spiekermann, Erik. Rhyme & Reason: A
England: Gregg International, 1971. Morison, Stanley. First Principles of Typo- Typographic Novel. Berlin: H. Berthold AG,
Friedl, Friedrich, N. Ott and B. Stein. 7y- graphy. Leiden, Netherlands: Academic 1987.
pography: An Encyclopedic Survey. New Press Leiden, 1996. 2nd Ed. Thompson, Bradbury. The Art of Graphic
York: Black Dog & Leventhal Publishers, 1998. Morison, Stanley, and Kenneth Day. The Design. New Haven: Yale University Press,
Frutiger, Adrian. Type Sign Symbol. New Typographic Book 1450-1935,A Study of Fine 1988.
York: Hastings House, 1999. Typography Through Five Centuries. Chica- Tufte, Edward R. Beautiful Evidence.

Gill, Eric.
An Essay on Typography. Boston: go: The University of Chicago Press, 1963. Cheshire, CT: Graphics Press, 2006.

David R. Godine, 1993. Norton, Robert. Types Best Remembered, White, Alex W. Advertising Design and

Ginger, E.M., S. Rogener, A-J. Pool, and Types Best Forgotten. Kirkland, Wash.: Par- Typography. New York: Allworth Press, 2007.
Goudy, Frederic. The Alphabet and Ele- simony Press, 1993. Woolman, Matt, and Jeff Bellantoni. Mov-
ments ofLettering. Berkeley & Los Angeles: Ogg, Oscar. Three Classics ofItalian Cal- ing Type. Designing for Time and Space.
The University of California Press, 1942. ligraphy: Arrighi, Tagliente, Palatino. New Mies, Switzerland: RotoVision, 2000.

Bibliography 207
 Designer's checklist

Questions that should be answered with a “yes” m™ are

in bold. Questions that should be answered with a “no”
Oo are in regular weight.
Space Unity
Do all areas of white space look like they were planned and Are all elements cooperating to make a single impression?
thoughtfully used? Are contrasts clear enough to look purposeful?
Is the ground as interesting as the figures on it? Is there a dominant element that will transfix the casual browser?
Is space between elements strictly controlled and consistent? Are elements sized in proportion to their importance?
Is space used to signal quality and value? Has design unity been enhanced by limiting type and color
Is there a payoff for having this emptiness? palettes?
Does empty space define an object's relative size? Does color emphasize what is worthy of emphasis?
Are related topics close and unrelated ones separated? Is color used to explain content rather than decorate the page?
Can the background be brought into the foreground? Is the stopping power of huge images used?
Can overfullness (lack of emptiness) be used to describe this Is there a cheerful variety or is the total effect gray and pallid?
content? Have similar elements been grouped?
Is empty space activated for contrast and visibility rather than Are relationships between elements immediately apparent?
merely left over? Do the shapes of elements add contrast and visual interest?
Has space been removed from headlines to make them tighter, Do art elements accurately and distinctively convey the mes-
darker, and more visible? sage and tone ofthe story?
Is empty space used to make an opening page or spread look Is there consistency from page to page and spread to spread?
nonthreatening and inviting? Are design decisions being made to enhance the importance and
Are areas of white space balanced with occupied space? clarity of the content, but at the expense of the publication's
Is emptiness used representationally or symbolically? personality?
Has the especially visible emptiness around the perimeter of Are you straying unneccesarily from your publication's style
the page been used? manual - even just this once - for dubious immediate editorial
Is space used to emphasize either horizontality or verticality? success?
Have consistent, systematic spaces between elements been com- Are contrasts so numerous that unity is harmed?
promised to fill a short column? Does the design call attention to itself rather than reveal the
Can space be better managed in and around typographic elements? content?
Does any element appear to be floating separately on the page? Have holes been filled with clutter?
Does the page look crowded? Do elements interrupt reading or cause confusion?
Could the empty areas be called "wasted space"? Does the shape of any element look contrived or forced?
Is emptiness only in the background? Do elements try to outshout each other?
Are mere boxes and rules - rather than differences expressed Is there any way to simplify this solution to this problem?
through position, size, and weight - used to organize space?
Page Architecture Type
Is there a simple and coherent design system? Does the type look like “frozen sound”?
Does presentation make the information more intelligible and Is the type as large and legible as possible?
valuable? y Does typography unify pages without boring sameness?
Has all clutter and decorative pretense been eliminated? Are there exactly three levels of typography?
Has the rigid use of a grid limited creativity and expressiveness? Are big stories broken into bite-size chunks?
Is there characteristic page makeup in patterning and texture? Can the copy be edited shorter or listed?
Is the design responsive to substance or is it just surface gloss? Is the logo distinctive, not just set type?
Do facing pages appear as spreads? Is the logo echoed in the department headings?
Do stories appear as continuous horizontal entities that hap- Is there a distinctive type treatment that is used throughout
pen to be broken into segments? each feature story?
Are the premium upper-left corner and top section of the page Has the reader been lured into a story by the headline-deck-
used to maximum effect? caption-text progression?
Are readers guided naturally and smoothly through the page Are sidebars used as backdoors into the story?
or story? Has all display type (headlines, decks, captions, breaker heads,
Does your overall design acknowledge the presence of and breakouts, and pull-quotes) been broken for sense?
competition from the Web? Does information in headlines - rather than cute punning -
Are readers guided through information? intrigue the reader?
Are identity signals (logos, sinkage, department layouts) used If the headline has to be a topic title, is the reason to read in
consistently to reveal the magazine's structure? the deck?
Is information ranked so uncaring readers can skim? Do headlines contain active, positive verbs?
Can the potential reader learn the gist of the story just from Are headlines repeated verbatim on the contents page and cover?
the display material? Are all-caps restricted to very short headlines?
Are starting points easily found? Do decks and captions focus on the significance of the story?
Does the layout accurately communicate the relative impor- Do captions reveal the editorial significance of visually dull
tance of the stories on the page? photos?
Are stories shown so readers can gauge time, effort, and com- Are captions written as display type hooks, to increase curiosity
mitment required by each? and lead readers to the text?
Does the cover arouse curiosity and lure the passive? Do font changes signal real changes in meaning?
Is there.a characteristic cover format that allows flexibility Is the reader aware of the act of reading?
while maintaining uniformity? Have typographic decisions made the type prettier but hard to read?
Does any element lead to an unintended dead end? Do headlines and subheads compete for attention rather that lead
Does the design look evenly gray with elements too similar in size from one idea to the next?
and treatment? Is the text's line width determined for layout convenience rather
than optimal legibility of forty-five to fifty characters per line?

Designer's checklist 209

 Index

® Bayer, Herbert 85 iC) Contrast 73-77, 157, 177-179

Abstraction 61 Beall, Lester 57 Cage, John 188 character shape 178-179

Absorbability 1-3 Beethoven, Ludwig van 131 Calligraphy 109-111 character width 178-179
Advertising 7, 60-61 Before & After 35 Canopus Decree 56 color 92-95, 178-179
Advertising Age 67 Behrens, Peter 106 Captions 183, 201 density 149, 178-179, 186
Agha, M.F. 64, 65 Benguiat, Ed 61 Carolingian writing 58 format 153, 178-179
AIGA NY 73, 143 Berners-Lee, Tim 66 Carson, David 64, 167 position 178-179
Alberti, Leon Battista 97 Bernhard, Lucian 60 Casa, Giovanni della 68 size 164, 178-179
Alignment 1, 83, 129, 175 Berryman, Gregg 17 Casey, Susan 155 stress 178-179
Alphabet 55 Bierut, Michael 78, 138 Caslon, William IV 59 stroke 54, 58, 171, 194
Alvise Brothers 54 Big Ten Conference 27 Cassandre, A.M. 63, 64 weight 165, 178-179, 185
Ambiguity 25, 139 Bil'ak, Peter 188 Catazine 35 Copland, Aaron 91
Ampersand 172 Birdsall, Derek 29 Caxton, William 160 Counterform 21
Andreesen, Mark 66 Bleed 25, 51, 91 Cecchi, Filippo 155, 161 Coupe 65
Anomaly 21 Bodoni, Giambattista 58 Centered 41, 91, 128, 163 Creativity 71, 89, 111, 143
Apeloig, Phillipe 63 Bonsiepe, Gui 133 Cerf, Vint 31 CSS 67
Architecture 111 Boxes 115-117 Chains of thought 119 Cubism 56
Art movements, 20th C. 56 Breaking for sense 187 Champollion, Jean Francois 55 Cuneiform 53-54
Ascender 164, 169, 187, 191-195 Breakouts 183 Chermayeff, Ivan 93 Cylinder seal 60
Asymmetry 39-45 Breuer, Marcel 125 Closure 85 ®
absence of symmetry 41 Bringhurst, Robert 187 CMYK (Cyan Magenta Yellow Dadaism 56
® Broadsheet 62 Black) 95 Dair, Carl 137, 155, 163
Bacon, Edmund N. 101 Brocar, G.P. de 54 Cocteau, Jean 19] Dashes 175
Bacon, Francis 51 Brodovitch, Alexey 63, 65 Codex 53-54 Day, John 160
Background 11, 17-25, 46 Brody, Neville 57, 151, 157, 163 Coleman, Ornette iv, 79 Deal, Michael 133
Balance 91 Broom 64 Color 93 Decimals 199
asymmetrical 43-47, 91 Browser vii, 149, 177-183 typographic 1,58, 122, 168 Deconstruction 57
formal 91 Brunfels, Otto 116 Column 10, 73, 102, 121-123, Delaroche, Paul 45
informal 91 Brunner, Robert 139 166-169, 189 Demotic script 55
mosaic 91 Bug, story-ending 198 Comenius, Jan Amos 145 Depth 22-25, 137
overall 91 Burcharth, Mads 105 Completion 85 Descender 164, 186
symmetrical 41, 91 Burke, Edmund 75 Complexity 111 Descenderless type 58
Baseline 165, 178, 192 Burns, Aaron | Condensed 74, 178-179, 186 Design evolution 101-103
Baskerville,
John 55, 161, 188 Constructivism 56 Design viii, 1-5, 17
Bass, Saul 146 Context 27-31, 93,97 accidental 21
Bateson, Gregory 135 Continuity 71, 126, 145 bad 19, 41, 187
Bauhaus 56-57 Continuation 85 components of 81
Bauhaus 64 Contractions 56, 58 evolution 62, 102-103
 good 1, 29, 43, 71 Fletcher, Alan 173 @ @
horizontal 145 Flush 83, 103, 175, 194 Haller, Albrecht von 119 Kepes, Gyorgy 108
organic 118-121 Focal point 73, 89 Harper's Bazaar 65 Kerning 187
process 101 Font 58, 173, 181 Hayman, Luke 65 Kliment, Stephen A. 1
vertical 81, 85, 127 Foreground 19, 23, 45, 138-141 Headline 10, 51, 99, 149, 15/7, Kline, Franz 33
de Stijl 56 Fukuda, Shigeo 23 176-187 Koberger, Anton 37
Dexel, Walter 129-131 Form 23, 39-43, 101, 179-185 Hearst, William Randolph 5 Koestler, Arthur 121
Direction 127-13] substituting 7 Herman Miller 27, 155 Kuala Lumpur 113
Diagrams 105 Format 168-169 Hiebert, Ken 19, 33 @
Die cut 145 Fortune 65 Hierarchy, visual 66, 89 Lamb, Charles |
Dissimilarity 75 Fractions 201 Hieroglyphics 52-54 Lao-tse 9, 23

Dominance 89 Framal reference 23, 25 Hofmann, Armin 27, 57, 165 Larkin, Eugene 71
Donald, Chuck 35 Froelich, Janet 65 Hollis, Richard 56 Lead-in 168
Drenttel, William 199 Frozen sound 157 HTML 66 Le Corbusier 27, 123
Dudok, Willem 111 Fukuda, Shigeo 23 Huber, Max 62 Lee, Ken-Tsai 33
Dwiggins, William A. 43, 59, 71 Futura 58 Hurlburt, Allen 159 Legibility 13, 163-169

@ @ Hyphen 167, 175 Leslie's Weekly 64

Eckbo, Garrett 137 Geissbuhler, Stefan 61 Hyphenation 167-169, 175 Letterform 58, 185

Eco, Umberto 5 Gerstner, Karl 73 @ Letterspacing 165, 190-191

Edison, Thomas 49 Gestalt 83 Ideogram 53-54 Lewis, Jerry 157
Egyptian hieratic script 52 Ghyka, Matila 127 Incunabula 54 Lewis, Richard 13
Elegance viil-ix Gill, Bob 49 Indention 161-163, 169 Lidman, Sven 83
Ellipsis 199 Giolito, Gabriel 172 hanging 161-163, 169 Life 65
El Lissitzky 149, 150 Glass, Phillip 14 Information, three kinds of 57 Ligature 58, 161
Emigre 64 Glaser, Milton 56, 161 Information mapping 133-135 Line length 165, 167, 194

Emoticon 59 Gold, Karen 20] Initial caps 148, 161-163 Linespacing 167-169, 187
Emphasis 89, 93, 97-99 Golden section/rectangle 37 International style 57 Linotype 56
Emptiness 17 Graphic design, birth of 57 Internet 66 Lionni, Leo 27, 39, 139
En dash 175 Greeks 52-53 Invisibility 23, 166-169, 187 Live area 79
Equilibrium 91, 129 Greiman, April 56 Ishikawa, Kohei 113 Loewy, Raymond 60, 87
Escher, M.C. 39 Grids 121-123 @ Logo 60

Esquire 65, 155 Griffo, Francesco 58 Javal, Emile 55 Lois, George 64

Exclamation mark 172 Gropius, Walter 66 Jenson, Nicolas 171, 188 Longhauser, William 155

@ Ground 17-25, 39-41, 85, 121 Jeanneret, Charles-Edouard 27 Lubalin, Herb 41, 91, 140, 179

Federico, Gene 157 Grouping 7, 29, 36, 76, 82, Jellison, Summer 101 Luce, Henry 65

Figgins, Vincent 59 124-127 Justification 194-197 Luescher, Dr. Max 95

Figure/ground relationship Gutenberg, Johannes 55, 58,

19-25, 85 160, 171
Figures, lining 163 Gutter 76-79, 193
old style 163, 198-199

Index 211
Vy Nord 64 Poster 62 8
Magalogue 35 Not-letterforms 151, 161-163 Prime 175 Saarinen, Eliel & Eero 108
Magazine design 64-65, 143 Numerals 162-163, 201 Printing, letterpress 55 Sacadic jump 55
Maher, James T. 117 @ lithography 55 Sagmeister, Stefan 63
Majuscules 59 Opacity 142-143 wood block 55, 62 Samrat Yantra 108
Mansfield, Malcolm 192 Order 27-31, 73-77 Proximity 73, 82-85 San Gimignano 112
Manutius, Aldus 160, 171, 188 Ornaments 173 Pull quote 183 San Simeon 5
Margin 28, 37, 41-42, 79, 122 Orphan 201 Publication 143 Sans serif 171-173
Marks, merchant's 60 Outline 165, 179 Punch 64 SarkMark 59
Massaccio 140 Overfullness 5, 11 Punctuation 53, 158, 169, Scale 89
Massin, Robert 63 Ozenfant, Amedée 27 172-175 Schelling, Friedrich von 113
Massoudy, Hassan 111 @ @ Scher, Paula 196
Matisse, Henri 109 Page size 145 Question mark 173 Schmidt, Joost 64
Matter, Herbert 57 Paper 56, 143-145 Quote marks 175, 187 Scrolls 53
McCaffrey, Steven 117, 141 Papyrus 54 LR Scully, John 193
McCall's 192 Paragraph 102-103, 126, 154, Ragged edge 167 Searle, Ronald 33
McLuhan, Marshall 95 165, 168, 191-193, 198 Rand, Paul 57, 115 Segal, Leslie 1
Median 164, 194 Parchment 54 Random 1, 62, 71, 77, 83, 89 Semiotics 60
Menus 66 Pattern 145 Ratdolt, Erhard 160 Serif 58, 171
Merchant's mark 60 Pelli, Cesar 113 Rawlinson, Henry C. 53 Shakespeare, William 17
Metropoli 65 Pentagram 143 Ray Gun 64 Shape 101
Middleton, R. Hunter 153 Pepys, Samuel 64 Rayonnant architecture 111] Shimbi Shoin 51
Mies van der Rohe, Ludwig 3 Perception, cumulative 83 Readability 13, 163-169 Sign, diagrammatic 60
Miller, Sir Jonathan 13 Perspective 140-141 Reader magnet 3 ideogram 60
Miller, Wiley 89 Petra 115 Rembrandt 27, 115 pictogram 60
Milton, John 39 Pfeil, Hartmut 39 Rennaissance 54, 162 representational 60
Minuscules 59 Phoenicians 52-55 Renner, Paul 58 symbolic 60
Modularity 85 Photoengraving 55 Repetition 127 synonimic 60
Mondrian, Piet 123 Photography 55, 62 Reversed out 165 Silhouette 43
Moore, Henry 89, 100, 136, 139 birth of 55 RGB (Red Green Blue) 95 Similarities and differences
Morrison, Sean 111 Phototype 58-59 Rhythm 127 O73
Motion 47-49, 131 Pica 194 Rolling Stone 65, 200 Simon, Paul 43
Muller-Brockmann, Josef 62 Pictograph 52 Romans 52-53 Simonds, John Ormsbee 99
Munari, Bruno 143 Pineles, Cipe 105 Rosetta Stone 52,55 Simplicity vi, ix, 8, 32
® Piranesi, Giovanni Battista 31 Ruder, Emil 76, 151 Singer, Isaac Bashevis 67
Nelson, Stan 55 Plantin, Christophe 54, 160 Rule, line 21, 28, 82, 102-103, Sinkage 79, 127
New York 65, 118 Point-Line-Plane 87 126-127 Sochis, Reba 192
New York Times Magazine 118 Polish Poster School 62 standard 27-31, 123, 163 Space 81, 97
New York School 56 Polyglot Bible 54 attractant 11-13, 27-29
Nike 60 Position 82-85, 89, 127-13] connects pages 127
 default 149, 161-163 @ image integration 62-63, 85 ©
emphasizes direction 127 Tension 23, 39, 45, 123 italic 58, 198-199 Valicenti, Rick 157
filled in 149, 161-163 Text 188-20] kerning 187 Vanity Fair 65
floor 32 abstraction 193-195 letterform 185 Variety 83, 91, 123, 127
French 175 effortless 195-197 lowercase 59 Vellum 54
leftover 161-163 perfect 198-199 majuscule 59 Verissimo, Luis F. 197
letter 165, 190-191 Textura 55,58 minuscule 59 Vitruvius Vill
line 167-169, 187 Texture 145 modern 170 Visual noise 21, 91, 121
overfull 5, 11, 27-31 Thompson, Bradbury 58, 64, monospaced 173 Vogue 192
negative 21, 23 80, 192 movable 54, 58 ®
positive 21, 19-25, 41 Time 47-49 neo-grotesque 170 Wadsworth, Edward 33
passive 21, 41-43 Tolstoy, Leo 119 oblique 179, 185 Walker, Edward 172
representational 49-51 Tory, Geofroy 71 Old English 173 Wallpaper
41, 90-91
solid vili, 39-41, 101 Toulouse-Lautrec, Henri de 63 perfect 185-187, 198-199 Watermark 60
trapped 21 Tracking 165, 185-187 police 201 Wayfinding 35, 133-135
three-dimensional 137-141 Trajan’s Column 53 primary 179 Web site design 57, 66-67, 105
two-dimensional 21, 137 Troxler, Niklaus 63 pull quote 183 Weingart, Wolfgang 56, 81, 185
variable 188-189 Tschichold, Jan 37, 45, 123, sans serif 59, 171-173 Weiss, Emil 63
wasted 27-31, 32, 45-47 169, 177 script & handlettered 173 Wharton, Edith 81

word 55, 167 Turnover 198-199 secondary 181-183 White space 21

Sternberg, Harry 109 Type, abstraction 178-181 serif 171] dynamic 41-47
Storch, Otto 192 blackletter 173 size 165, 177 representational 51
Style 1, 56, 64-65 bold 103, 167, 194 small caps 187 rivers of 51, 169
typographic 153-155, 183 breaking for sense 187 square serif 59 symbolic 51
Subhead 181 capital 59 symbol & ornament 173 “working” 21
Sumerians 52, 60, 71 caption 183, 201 text 188-201 Widow 201
Sutnar, Ladislav 85 classification 170-173 Venetian Old Style 177 Woodward, Fred 65, 181
Sutton, Tony 91 contrast 76-78, 82, 102-103, voices 148-159 Word spacing 167
Sweynheim, Konrad 59 (22, ISAS), 743 weight 185 Writing, birth of 52
Swiss punk 56 conventions 99, 148-157, Type-Image-Space 9 x)
Swiss style 57 161-169 Typeface 58 Xerox Standards 3, 1]
Symbol 173 decorative 150-159, 162, Typesetting 58-59, 151, 161 X-height 164-165, 194-195
Symmetry 39-45 172, 178-180, 192 Typographer 125, 148-157 ©
bilateral 4] display 173, 177-187 Typography 149-159 Yin/yang 23
crystallographic 41 digital 59 © @
radial/rotational 41 Egyptian 59 Ugly 19 Zappa, Frank 25
format 168-169 Underlining 198 Zwart, Piet 151, 153

glyphic 173 Unity 67, 71, 83

gothic 173 Updike, D.B. 189
grotesque 170-173, 183

Index 213
oN Colophon Credits
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GIST & JODY LANEY; FOUR LOGOS/DOVE BRADFORD LAWTON; FOUR LOGOS/GUITAR STAN McELRATHY & PAUL SOUPISET; PIANO-TAXI
UNKNOWN 40-41 LA RESISTANCE UNKNOWN PHOTOGRAPHER; OGNI “IT'S AN ILL WIND THAT BLOWS NOBODY GOOD. THE BABY ALWAYS
A colophon is a brief description of a book's CRIES", FRUIT-OF-THE-LOOM UNKNOWN; FP MARK HERB LUBALIN 42-43 MONEYS UNKNOWN; PAUL SIMON YOLANDA CUOMO; TOP STOCK
CERTIFICATE UNKNOWN; SARA LEE STOCK CERTIFICATE EUGENE GROSSMAN 44-45 PRINCES IN THE TOWER PAUL DELAROCHE; VIOLIN

typography and technical details of its

UNKNOWN 46-47 WIRES UNKNOWN; TINO SEHGAL INGO MAAK; LOOKING FORWARD MATT WILLEY&MATT CURTIS; LOURDES UNKNOWN;
MOVIE TITLES KYLE COOPER; £100 REWARD UNKNOWN 48-49 SUPERBITCHBAG TED NOTEN & DANIEL NICOLAS, PHOTO; AMANTES
AMENTES “LOVERS ARE LUNATICS", COUP "GUST OF WIND"; VW SNOW AD UNKNOWN; VW EGG AD UNKNOWN 50-51 NIKE DARYL Mc-
production. The term “colophon” is from DONALD; JAPANESE PRINT SHIMBI SHOIN; ROTTERDAM MARK UNKNOWN, POWERBOSS TOM ROTH 70-71 CHAMP FLEURY GEOFROY
TORY, SUMERIAN CUNEIFORM UNKNOWN SCRIBE; FOUR STUDIES REBECA RICO, SPENCER ROTH, JURI MIYAMOTO, AMY NORSKOG;

the Greek, meaning “finishing,” and comes ELECTRA SAMPLE COURTESY OF BILL DAVIS AT MONOTYPE LTD, CHICAGO 72-73 DESIGNERS&WRITERS MICHAEL GERICKE; LAURIE AN-
DERSON BRETT YANCY COLLINS; CATALOG SPREADS UNKNOWN; DIALOG PETER SMITH 74-75 RED BOOK STEPHANIE KAPLAN; CHAIR
DAVID GUARNIERI & RENE CLEMENT; ENTFERNUNG INA BAUER & SASCHA LOBE; ESKELIN NIKLAUS TROXLER; BOLLE JEFF MILLER; TRES
from the inscriptions written at the end of IMPERIOS DEL ISLAM PEPE GIMENO & MAURO GIMENO 76-77 NEG SPACE LETTERFORMS EMIL RUDER; SUPERSUCKERS JEFF KLEINSMITH;
MENTORING ANNE-LENE PROFF; WEB SITE ZRII GARETH FRY, M&M PROYECTOS JUAN NAVA 78-79 SHOCK TOP MICHAEL BIERUT; DERBY

clay tablets by scribes in the Near East to

UNKNOWN; AT&T LOGO SAUL BASS 80-81 PRESSROOM BRADBURY THOMPSON; TDC BROCHURE UNKNOWN; CHICKEN/EGG UNKNOWN;
XTRA TRAIN PHILIPPE APELOIG; ARQUEOGRAFIES PEPE GIMENO & BAPTISTE PONS 82-83 CITIUS “SWIFTER, HIGHER, STRONGER": TRANS-
METTEZ “BRING A HORRIBLE DISEASE TO THE SLIMY PICKPOCKETWHO STOLE MY WALLET": SYMPHONY 40 CARLA BOUTHILLIER; BECAUSE
record facts of ownership and authorship IT'S THERE PHILI; GLOBE UNKNOWN; COLEMAN PACKAGING ANASTASIA LAKSMI 84-85 COLUMBIAN COFFEE UNKNOWN; 1931 LADISLAV
SUTNAR; KANDINSKY HERBERT BAYER; BEETHOVEN COVERS UNKNOWN 86-87 IBM ALEXANDER HEILL; SHANGRI-LA UNKNOWN;

of the tablet itself.

FRANCO-PRUSSIAN WAR UNKNOWN; CLOWN UNKNOWN 88-89 FOUR SPOT ILLUSTRATIONS UNKNOWN: TIM HAWKINSON UNKNOWN;
NUT-RITION UNKNOWN; VIS STEVE PALUMBO; CARTOON WILEY MILLER; AFTER PARTY DANNYJ.GIBSON; BOTTEGA MAN'S "FLY"; LIBERTY'S
FOOT UNKNOWN 90-91 TRANSPARENT ALPHABET #4 KATIE SCHOFIELD; WALLPAPER VICTORIA AND ALBERT MUSEUM; NEWSPAPER AD
The first colophon was printed in 1457 UNKNOWN; CUTS NOSE HERB LUBALIN; RAGGED RIGHT TONY SUTTON, EIFFEL TOWER UNKNOWN 92-93 VALSPAR UNKNOWN; EGG
SUNRISE UNKNOWN; WATER COLOURS UNKNOWN; ASTON MARTIN UNKNOWN; GARDEN BURIAL CARLERIK CONFORTO 96-97 RAUM
BRAUCHT KMS TEAM; FOUR STUDIES JANINE ERHARDT; MAURICE RAVEL EMIL WEISS; BOKER FRED SANICOLA; WHO AM
by Johann Fust and Peter Schoffer in Mainz - LING; OBSESSION ISAAC TOBIN & LAUREN NASSEF 98-99 QUASE DE VERDADE "PARTIAL TRUTH”: OGI FRAMES SCOTT
| PAZU LEE KA
THARES; LOVE
UNKNOWN 100-101 RECLINING FIGURE NO.3 HENRY MOORE; FOUR STUDIES TOP JURI MIYAMOTO, IGNACIO HINOJOSA, JURI MIYAMOTO,
just a few years after Gutenberg (for whom IGNACIO HINOJOSA; FOUR STUDIES BOTTOM JULIE TAYLOR FLYNN, DAN HORLITZ, DANA ALDRITCH, CARL JENSON; GLASS
JELLISON 102-103 THREE MORTONS UNKNOWN; THREE HOUSES CHIP ALLEN; TROMM MARKS UNKNOWN 104-105 EXTENSION DRAW-
OWL SUMMER

Schoffer apprenticed) first printed with mov-

ING JAN V. WHITE; SUPRBOX MADS BURCHARTH; GREEK TEMPLE ANNE TREMBLAY; CORPO HUMANO ALESSANDRA KALKO
& GABRIEL
SILVEIRA 108-109 SAARINEN GOTTSCHO-SCHLEISNER PHOTO; KOLIN AD HE OIING HUI; SAMRAT YANTRA ISAMU NOGUCHI
PHOTO; DAS
NEUE RUSSLAND GYORGY KEPES; PURPLE ROBE HENRI MATISSE; TWO CHICKENS UNKNOWN: CALLIGRAPHY UNKNOWN; HOTEL
UNKNOWN
able type. This first printed colophon was 110-111 THREE CASTLES MARTIN HURLIMANN PHOTOGRAPHS; FOUR LA SAINT-CHAPELLES UNKNOWN: ABSOLUT UNKNOWN;
BRIDGE UNKNOWN 112-113 CITY CENTRE CESAR PELLI; INUIT UNKNOWN; FORD AD UNKNOWN; 10SOCKS WILLIAM HJORTH;
BROOKLYN
VISUAL
in their Latin Psalter. ACOUSTICS ALEX LEMPE 114-115 REMBRANDT E LESSING ARCHIV FUR KUNST & GESCHICHTE/JOHN ROSS; ST GEORGE UNKNOWN;
JAN V. WHITE; GARAGE PEPE GIMENO & RICARDO CANIZARES; GUCCI EUNYOUNG LEE 116-117 HERBARUM OTTO BRUNFELS;
PETRA
CURE-X
KLAUS TROMMER, BALLET-TECH PAULA SCHER; WOODCUT ILLUSTRATION HANS WEIDITZ 118-119 REMAIN CALM LUKE HAYMAN
& CHRIS
The translation of this colophon reads: DIXON; MAXIMUM SECURITY AREM DUPLESSIS & KRISTINA DiMATTEO; PHAISTOS DISK UNKNOWN; BOYFRIEND'S
& MIKHAIL GHERMAN 120-121 LOGONE-BIRNI MARCEL GRIAULE PHOTO; CANTON L'AMBASSADE DE LA COMPAGNIE
HEAD LEN CHEESEMAN
ORIENTALE; SMET-
TILA SUBITO "PLEASE STOP YOUR ACTIONS AT ONCE! | AM NOT A MELON WHOSE RIPENESS IS IN DOUBT"; VEJA
“The present book of the Psalms, decorated 122-123 PARCHMENT GRID UNKNOWN; COMPOSITION WITH RED, YELLOW AND BLUE PIET MONDRIAN;
ALESSANDRA DA SILVA
CNBC UNKNOWN 124-125
GUESTS RATES KLEX; STOP GUN TRAFFICKING WOODY PIRTLE & DAISUKE ENDO; FESTIVAL DE VERANO IBAN
RAMON RODRIGUEZ; JAZZ
with beautiful capital letters and profusely IN WILISAU NIKLAUS TROXLER 126-127 WATER & PEACE SUZANNE MORIN: PA GENSYN UNKNOWN
PHIL CARTER & NEIL HEDGER; CIVIL WAR ELAINE BRADLEY; NEW TYPE OSWALDO MIRANDA 130-131
128-129 RED SPORTS BROCHURE
PHOTO ANNUAL STEFAN SAGMEIS-
marked out with rubrics, has been thus
TER; POLLOCK ALEXEY BRODOVITCH; NEW FACE ROLAND SCHENCK & BRIAN GRIFFIN: 1979 UNKNOWN;
LARGENT UNKNOWN; GOSPEL
MICHAEL BIERUT & EMILY HAYES 132-133 10 TIPS UNKNOWN: UN TRESOR UNKNOWN; BEATLES DIAGRAMS
MICHAE DEAL; LIGHTNING
DAN NGUYEN & SCOTT SHEINBERG 134-135 LA RAMBLA BRANDA NAZLI YUCEL & KRYSTIAN KWIECINSKY;
fashioned by the added ingenious invention RUTA CONTRACT PEPE GIMENO & JULIO ALONSO; LAX ROBIN PERKINS & CLIFFORD SELBERT; MOLKEN-BRONN
PAGES KENNETH C. WEHRMAN 136-137 RECLINING FIGURE HENRY MOORE; SCULPTURE MICHAEL
TYPEWRITER KIRSTEN DIETZ;
DDB THE WAY CITY; GREEN
R McSHANE; KOREAN WAR DON
of printing and shaping of letters without
DYER PHOTO; FORMULA ONE RON VAN DER MEER 138-139 TOYOTA MARKHAM CRONIN & JEFF
VON HOENE; COMME DES GARCONS
STEPHEN J. SHANABROOK & VERONIKA GEORGIEVA; INNER CITY INFILL MICHAEL BIERUT; JAPAN
LIGHTING DESIGN YUJI! TOKUDA;
SAMSUNG UNKNOWN; ESCALATOR MARCO FUSZ; BULTHAUP TAY GUAN HIN & ERIC YEO; TABARIN
PAUL COLIN; DOGCAT UNKNOWN;
any exertion of the pen, and to the glory of ZOO UNKNOWN; BROCHURE LEO LIONNI 140-141 BARNES&NOBLE SIDDIQI; PIANO KAREN | HIRSCH
CHRIST MASACCIO'S "TRINITY"; NIKE UNKNOWN; BULL FIGHT UNKNOWN PHOTO; BABY JUSTIN PIKE;
PHOTO; M LOGO HERB LUBALIN;
TRAIN ARMIN HOFMANN: 142-143
God has been diligently brought to comple-
GLOBALISM(S) PENTAGRAM NY; LIBRO ILLEGGIBILE N.Y.1 BRUNO MUNARI; G STUDY AFTER
CARL DAIR 144-145 SWEDISH PAVERS UN-
KNOWN; PG&E ANTONY MILNER; EIGHT BOOKLETS JAN V. WHITE 148-149 F UNKNOWN;
KOREAN ALPHABETS UNKNOWN 150-151
PELIKAN EL LISSITZKY; HEY VIDEO ANONYMOUS; SUPERSTITION NEVILLE BRODY; HOT SPOTS
tion by Johann Fust, a citizen of Mainz, and SANTA UNKNOWN; 1922 EL LISSITZKY; CROSS COUNTRY CHARLES S. ANDERSON; MASTERS
PIET ZWART 152-153 ASICS UNKNOWN;
OF DECEPTION ROBERTO DE VICQ DE CUMP-
TICH; | AM PRETTY SURE NICK SCHMITZ; MUSIC NOTATION JOHANN SEBASTIAN BACH 154-155
ESPERIENZA FILIPPO CECCHI; ELENA
Peter Schoffer of Gernszheim, in the year of PRESSER WILLIAM LONGHAUSER; DASHBOARD UNKNOWN: HERMAN MILLER UNKNOWN;
UNKNOWN 156-157 LIGHTNING SONOKO FURUYA; FIVE STUDIES L-R: SONOKO FURUYA,
NIKE UNKNOWN; ESQUIRE - MAN AT HIS BEST
EPHRAIM GREGOR, MARIA KARANTZALIS, YE
LIU, STEVEN LONGCHALLON 158-159 TCHAIKOVSKY KUMARI GONGAJU: PIANO AVIVA
the Lord 1457, on the eve of the Feast of the KNOWN; THREE STUDIES L-R: PETER CASTELLANO, AMY PUTNICKI, CHRIS SILVA 162-163
KAPUST; TCHAIKOVSKY ILYSE DAVIS; IBM UN-
THE FUTURE CITY NEVILLE BRODY; BIG RED
ROCK JOE ESQUIBEL & WENDY OHWILER 164-165 AUTARKY "DICTATORSHIP"; COUNTERS
UNKNOWN 166-167 TIME&TERRITORY DOMENIC
Assumption.” LIPPA & BEATRICE BLUMENTHAL; SUN LIFE UNKNOWN: BANCO PORTUGAL UNKNOWN;
ELVIS UNKNOWN 168-169 CROWE JENNIFER PROCOPIO 174-175 BMW UNKNOWN; HO
LONG LIVE UNKNOWN; HAR MAN UNKNOWN;
LASCIATO "| LEFT THE BABY ALONE FOR A MINUTE
IN THE KITCHEN AND FOUND HIM COVERED WITH FLOUR FROM HEAD TO TOE"
The Elements of Graphic Design, Second TCHAIKOVSKY ANNA GUILLOTTE; DIE SARA FAZZINO; NEVER NEVER UNKNOWN;
176-177 NABOKOV STEPHEN DOYLE; SENSES MARK GEER:
CELEBRATE UNKNOWN; VISA SUSHI UNKNOWN 178-179
DODGE DAKOTA UNKNOWN; THINK BEFORE MARK GEER: ABSTRACT STUDY JOSH
ROY, DESCEND ROB GELB; FSTR KEENAN; CNBC CINDY
Edition was designed and typeset by Alex W. GOLDSTEIN 180-181 POPEYE’S MELANIE FORSTER & SIMON FAIRWEATHER; BLEU
182-183 GENETICS UNKNOWN; SUBHEADS UNKNOWN, WHAT THE HELL UNKNOWN;
UNKNOWN; POLAROID UNKNOWN; TAXI UNKNOWN
SPABEFGOMTY ADVERTISING TYPOGRAPHERS
ASSOCIATION OF AMERICA 184-185 FOUR STUDIES CHRISTINE LEUNG, ZITA
White. The text face is ITC Quay, designed MARIO MERCIER; MOZART UWE LOESCH; SIX Fs JOHN LEUNG 186-187 MEDCAREERS
SZATMARY, PATRICK SCOTT, TEO THOMAS, QUAT'SOUS
PAUL CRAWFORD; UTAH KEVIN PERRY; CHARACTER
COURTNEY BLAIR 188-189 SQUARE STUDY CHIRAG BHAKTA; HERE WE
ARE NOW RAYMOND GRIMAILA; COLLAPSE PETER BIL'AK; JAPA-
by David Quay at The Foundry, London, and NESE UNKNOWN, CINSKY KLEX; MIKOLAS ALES KLEX 190-191 ACEGMORTY
WOMEN'S MAGAZINE AD UNKNOWN; GET PICTURE UNKNOWN; UNDERPINNING
ADVERTISING TYPOGRAPHERS ASSOCIATION OF AMERICA:
UNKNOWN 192-193 VOGUE MALCOLM MANSFIELD;
BERGDORF GOODMAN REBA SOCHIS; DOGS BRADBURY THOMPSON;
issued by URW. The book was printed by Siri- BRADBURY THOMPSON; HANGER HERB LUBALIN; TODAY'S HALF UNKNOWN,
DODGE RAIN UNKNOWN; McCALL'S OTTO STORCH; FISHING
WE'RE ANTI-SHOE UNKNOWN 194-195 NIKE UNKNOWN;
TRACING PAPER METADESIGN LONDON 196-197 ARTIS PAULA SCHER;
DOCKERS AD UNKNOWN; NIKE UNKNOWN; TEXT & MAP MARK
vatana Interprint Public Co., Ltd. in Thailand. GEER; ST-GERMAIN STEVE SANDSTROM & SARAH HOLLOWOOD
COVERY ROGER CAMP & MIKE McCOMMON; ROLLING STONE FRED
198-199 EUROPEAN CHARACTERS UNKNOWN 200-201 DIS-
WOODWARD; MARAT LUDWIG UBELE; MONSTER.COM UNKNOWN
A Books from Allworth Press About the Author

Advertising Design and Typography by Alex W. White (82x11, 220 ‘<m@ Alex W. White has shaped
pages, paperback, $50.00) ~ | the design of many mag-
Thinking in Type: The Practical Philosophy of Typography by Alex © azines and identity pro-
W. White (6x9, 224 pages, softcover, $24.95) j grams. He has been a
Designing Logos: The Process of Creating Symbols That Endure by consultant to dozens of
Jack Gernsheimer (82x10, 224 pages, paperback, $35.00) publications and has lec-
How to Think Like a Great Graphic Designer by Debbie Millman ane widely on typography and design
(6x9, 248 pages, paperback, $24.95) to professionals in the Americas and Eu-
Designers Don't Read by Austin Howe (512x812, 208 pages, paper- rope. White recently completed ten years
back, $24.95) of service on the Board
POP: How Graphic Design Shapes Popular Culture by Steven Heller of Directors of the Type
(6x9, 288 pages, paperback, $24.95) Directors Club in New
Design Disasters: Great Designers, Fabulous Failures, & Lessons York, retiring as Chair-
Learned Edited by Steven Heller (6x9, 240 pages, paperback, man. He has taught
$24.95) design for thirty years
Green Graphic Design by Brian Dougherty with Celery Design Col- at all levels of under-
laborative (6x9, 212 pages, paperback, $24.95) graduate and graduate education at pro-
Design Thinking: Integrating Innovation, Customer Experience, grams that include Parsons the New School
and Brand Value Edited by Thomas Lockwood (6x9, 304 pages, for Design, FIT, The Hartford Art School,
paperback, $24.95) the State University of
The Graphic Designer's Guide to Pricing, Estimating, and Budgeting New York, City College of
by Theo Stephan Williams (6x9, 256 pages, paperback, $24.95) 3 New York, and Manhat-
Looking Closer 5: Critical Writings on Graphic Design Edited by tanville College. He is the
Michael Bierut, William Drenttel, and Steven Heller (67/4x9’/s, 304 award-winning author of
pages, paperback, $21.95) Advertising Design and
AIGA: Professional Practices in Graphic Design, Second Edition Typography, Thinking in
Edited by Tad Crawford (63/4x10, 336 pages, softcover, $29.95) Type: The Practical Philosophy of Typogra-
How to Start and Operate Your Own Design Firm by Albert W. phy, Type in Use, and Really Good Logos
Rubeling, Jr. (6x9, 256 pages, paperback, $24.95) Explained with Margo Chase, Rian Hughes,
Building Design Strategy: Using Design to Achieve Key Business and Ron Miriello. White lives in Westport CT.
Objectives Edited by Thomas Lockwood and Thomas Walton (6x9,
272 pages, paperback, $24.95)

To request a free catalog or order books by credit card, call 1 800 49]
2808. To see our complete catalog on the World Wide Web, or to order
online, please visit www.allworth.com.

Colophon 215
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 Graphic Design/Typography

Praise for the Wholly revised and updated, this pioneering work provides
ers, art directors, and students — regardless of experience — with a
design-

Second Edition of unique approachtosuccessfuldesign. = «=

includes two hundred new images — culled from the canons of design,

The Elements painting, and architecture, as well as from the author’s own files — a new
section on Web design, and discussions of modularity, framing, motion

of Graphic and time, and rules and randomness. Learn how to:
e Employ white space as a significant component of design

Design e Define and revea! dominant images, words, and concepts

e Use scale, color, and position to guide through levels of importance
e Use type for maximum comprehension and value to the reader
Educator, author, and 28-year design veteran Alex W. White has assembled
a wealth of information and examples in his exploration of what makes vi-
sual design stunning and easy to read.

“Questo libro spiega che cosa “Student or professional, “An expert educator, Alex W. “Alex W. White provides one “The Elements of Graphic
provo ad ottenere attraverso if you need the ‘simple’ White has purified the fun- of the clearest and most Design’s first edition has
ai miei progettisti: come fare basics — or want to get to damentals of graphic thoughtful introductions been one of the most
funzionare tutte le parti di more ‘complex’ basics — design into a vigorous and to graphic design that I’ve useful books on the details
un disegno insieme. Cio é il if you don’t yet know the all-embracing book. Ne read. This book is also one of design and effective
libro che consegno quando necessities of successful matter what stage of your of the few to really demys- visual Communication. The
/e innovazioni sono neces- graphic design — or have design career, this second tify the idea and use of second edition is certain to
“) “This book explains forgotten them in the edition of The Elements of white space in design —a become a standard in every
what | try to get across to complexity of today’s over- Graphic Design is, or ought topic that at once confuses design studio library.”
my designers: how to make whelming possibilities, here to be, required reading.” young designers and causes Sharon Werner, founder of
all parts of a design work is the book for you. It’s by Kevin Smith, founder of And seasoned clients to curl Werner Design Werks, has
together. My office has a big a gily who has quite a track Smith LLC, one of Print their lips with disdain. Read work included in the
library and this is the book record of speaking to both.” Magazine's “New Visual Alexander Isley, permanent collections of the
| hand over when break- Ed Fella, former Detroit Artists: 20 Talents Under founder of Alexander Isley Inc., Library of Congress, Victoria
throughs are needed.” commercial artist, Professor 30,” AIGA awards recipient, Lecturer at Yale Graduate and Albert Museum, Musée
Matteo Bologna, CD and in CalArts’ graphic design Professor at Parsons the School ofArt, past President des Arts Decoratifs, and the
founder of Mucca Design program, AIGA Medalist New School for Design of AIGA NY Cooper-Herwitt.

ia Be

i |
Published by ISBN 978-141-5811
Allworth Press Piyve
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