Graphics Reference
In-Depth Information
FUNCTION AND EXPRESSION
Functionalism
is a term used to describe the utilitarian and pragmatic
qualities of designed objects. During the early twentieth century,
functionalism was generally equated with designed objects of clarity,
purpose, and unornamented simplicity. However, it has since evolved
as a subjective notion that varies widely according to the needs of the
audience and the objectives of the designer.
For example, if comfort in the design of a chair is defined as
plushness and cushiness, an upholstered automatic recliner complete
with footrest might satisfy the criteria of a functional chair.
In contrast to the automatic recliner is the red/blue chair, a central
artifact of the de Stijl movement, designed in 1918 by Gerrit Rietveld
(Fig.
6-25
). Members of de Stijl sought a restrained expression and a
new philosophy for living. With its hard, flat surfaces, the red/blue
chair appears very uncomfortable; however, Rietveld's desire was
for the chair to promote alert mental activity through rigid support.
The seat and backrest planes are attached at only one edge, enabling
the pliable wood to adjust to the user's weight. In this regard, the
chair functions according to Rietveld's intentions. In an interior
environment, Rietveld's red/blue chair has the presence and visual
harmony of a piece of sculpture. The needs for a functional object
(seating) and for aesthetic experience are fulfilled in this one object.
In typography, function is the purposeful communication of
information to a specific audience. Although the range of possible
typographic design solutions is infinite, the appropriateness of a
solution always depends upon the purpose for which it was intended.
Varying degrees of formal reduction or elaboration can be effective
when solving specific typographic problems.
Formal reduction can be used to create optimum clarity and
legibility, presenting complex information, such as news or scientific
data, in a clear and straightforward manner. Orderly presentation
guides the eye from one element to another, preserving reader and
attention (Figs.
6-26
and
6-27
).
6-25
Red/blue chair,
1918. (Designer: Gerrit
Rietveld)
6-26
The elemental shape and
sequence of letters in the word eye
visually suggest two eyes and a nose.
Based on the typeface Radio, this
typographic configuration serves as the
masthead for
Eye: The International
Review of Graphic Design
. (Concept:
Nick Bell; designer: Magnus Rakeng)
6-27
Required to appear on all food
packaging in the United States, the
standardized Nutrition Facts label clearly
provides consumers with important
information about the nutritional value
of foods. Typography responsibly
assumes an objective, informational
role. (Designer: Burkey Belser)
