Graphics Reference
In-Depth Information
TYPOGRAPHIC SPACE
“Speech proceeds in time and writing
proceeds in space.” Applying Karl Gerstner's
statement to typographic design, typographic
space is the rhythmic and dimensional
field in which typographic communication
exists. This field consists of positive form
(the typographic elements) and void (the
spatial ground) upon which the elements are
arranged. Unity within the space is achieved
by visual compensation; that is, the spatial
balance and arrangement of typographic
elements. Amos Chang, discussing the
relationship between compensation and
visual dynamics, wrote, “This process of
growth from deficiency to compensation
brings inherent movement to physical form
. . . we may borrow an important rule of
balance from the anatomy of a zoological
being, man in particular . . . man's body is
in a state of balance when his arms and legs
are in a position to be moved effectively to
compensate for position changes of the body.”
Visual compensation is achieved by
balancing elements against each other,
adjusting their sizes, weights, spatial intervals,
and other visual properties until unity and
equilibrium are achieved (Figs.
5-28
to
5-30
).
In Figure
5-31
, two contrasting letterform
pairs are balanced. The letterform pair
fj
suggests contraction and consonance, while
gv
expresses expansion and dissonance.
Consonance is a harmonious relationship
between similar or corresponding elements,
while dissonance is a discordant relationship
between dissimilar elements. In Figure
5-32
, dissonant elements are combined
with consonant form-to-void relationships,
resulting in a state of visual balance and unity.
5-28
Spatial elements
are balanced through
the principle of
visual compensation,
achieving equilibrium
and tension. Elements
form relationships with
other elements through
carefully planned
juxtapositions and
alignments. Tension
exists between the edge
of the composition and
adjacent elements.
These basic forces
affect typographic
organization and help
achieve dynamic,
asymmetrical
composition. (Designer:
Jean Brueggenjohann)
5-29
In the spread, pictorial and typographic elements contrast each other. Here
the rectangular photograph of Eva Zeisel is balanced by a typographic column that
mimics the shape of her vases. (Designer: Pirco Wolfframm)
