Graphics Reference
In-Depth Information
The structure of typographic space can
be defined by alignments (Figs.
5-33 to 5-35
)
and form-to-void relationships that establish
a composition's underlying spatial order. This
substructure is developed and enhanced
through optical adjustment (Fig.
5-36
). Often
inconspicuous, optical adjustment is the
precise visual alignment of typographic
elements in space based not on mathematical
but on perceptual alignment. The designer's
understanding and use of optical adjustment
is necessary for visual clarity.
Visual compensation and optical
adjustment within the typographic space
link printed elements and the spatial ground.
This structural integration is not an end in
itself; its order, simple or elaborate, acts as a
stimulus, controlling the visual dynamics of
the message transmission and response.
Nathan Knobler's observation in
The
Visual Dialog
that “psychologists tell us that
the need to understand, to find meaning
in the world around us, is coupled with
the need for stimulation and involvement”
applies to design. To communicate with
clarity and exactitude, the designer must be
aware of the need to stimulate and involve the
viewer. In typographic problem solving, the
designer creates complex, highly interactive
spatial environments (Fig.
5-37
) that establish
coherence between the viewing experience
and typographic form, between the verbal
statement and written language.
The whole duty of Typo
graphy, as of Calligraphy, is to
communicate to the imag
ination without
the loss by the way, the thought
or image intended to be
communicated by the Author.
And the whole duty
of beautiful typo
graphy is not to sub
stitute for the
beauty or interest
of the thing
thought and intended
to be conveyed by the
symbol, a beauty
or interest of its
own, but, on the
one, hand to
win access for that
communication
balance
compensation
form
counterform
5-33
Alignments create visual relationships between
forms in space. (Designer: Jennifer Mugford Wieland)
5-34
In this asymmetrically balanced composition,
the edge of the type column aligns with the central
axis of the circle. (Designer: Sergio de Jesus)
5-35
Typographic
elements are aligned
with the horizontal and
vertical edges of the
geometric configuration.
