Graphics Reference
In-Depth Information
A
B
a
5-63
Further variations in ABA form are
discovered when elaborations (ABa, ABAb
or AbAc) of corresponding elements occur to
establish subtle contrasts (Fig.
5-63
), or when
primary and secondary relationships occur
in compositions simultaneously (Fig.
5-64
).
The foregoing examples show the influence
of proportion upon the relationships
between typographic elements. The
rhythmic patterns in each of these examples
are identical, with equal or nearly equal
intervals of space separating the elements.
In a detail of the concert poster (Fig.
5-65
), a
distinct rhythm composed of unequal spatial
intervals between typographic elements can
be observed. This rhythmic pattern may be
viewed on two levels: the major group (A .
B . A), and the minor group (
a
. bb . .
a
. b . .
a
. bb . .
a
, etc.). The intervals between these
elements facilitate the functional grouping
of the parts of the message: the instruments
are separated from the performers by a
1X interval of space, and each of these
groupings is separated one from another by
a 2X interval of space. Other syntactic traits
bind and isolate the parts: the instruments
are bold in typographic weight, linking
them together, while the performers are
light in weight. At the same time, all these
typographic elements share the same type
size to distinguish them from the location
of the event, which is presented in a larger,
italic, all-capitals typeface.
A
B
A
a
b
a
c
5-64
The relationships established by the three
vertical columns of equal width (ABA) achieve visual
dominance over the three horizontal bands (aba).
The small column of text (c), which departs from the
visual pattern of the main unit in position and type
weight, provides an additional variation.
