Graphics Reference
In-Depth Information
SINGLE COLUMN GRIDS
4-13
In this classic
example, both text and
page size share golden
mean proportions.
The whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle, and
on the other hand, to take advantage of every pause or stage in that
communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of
the first and introductory page and of the title, and for the especial
beauty of the headings of chapters, capital or initial letters, and so
on, and an opening for the illustrator as we shall see by and by. The
whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle, and
on the other hand, to take advantage of every pause or stage in that
communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of
the first and introductory page and of the title, and for the especial
beauty of the headings of chapters, capital or initial letters, and so on,
and an opening for the illustrator as we shall see by and by. The whole
duty of typography, as with calligraphy, is to communicate to the
imagination, without loss by the way, the thought or image intended
to be communicated by the author. And the whole duty of beautiful
typography is not to substitute
The whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle, and
on the other hand, to take advantage of every pause or stage in that
communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of
the first and introductory page and of the title, and for the especial
beauty of the headings of chapters, capital or initial letters, and so
on, and an opening for the illustrator as we shall see by and by. The
whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle, and
on the other hand, to take advantage of every pause or stage in that
communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of
the first and introductory page and of the title, and for the especial
beauty of the headings of chapters, capital or initial letters, and so on,
and an opening for the illustrator as we shall see by and by. The whole
duty of typography, as with calligraphy, is to communicate to the
imagination, without loss by the way, the thought or image intended
to be communicated by the author. And the whole duty of beautiful
typography is not to substitute
When text appears as a simple, linear
narrative, as in the traditional novel or
exhibition panel, it is often best to set it as
a single block. There exist many ways to
orient single text blocks to pages (or other
spatial fields). These choices are most often
related to budget constraints, standard
paper sizes, and the function of typographic
information. Some designers still find it
rewarding to revisit the golden section from
time to time (Fig.
4-13
). But more often than
not, alternative approaches to proportions
are developed. The designer's own intuitive
sense of proportion is nurtured through
observation and practice.
The problem is always to consider the
text block and the margins of the page as
a proportional system. Margins function
to set the typographic stage; they may
be dynamically asymmetrical or quietly
symmetrical. Margins also accommodate
marginalia, separate typographic parts
that support the text. These include folios,
running heads, running feet, and notes.
The negative space of margins flows gently
into the text, a mingling of positive and
negative space (see “Column and margin,”
pp. 92 - 95). The text block can be sized and
adjusted within the page to attain a variety of
proportional relationships (Fig.
4-14
).
21
Typographic Design:
Form and Communication
The whole duty of typography, as with
calligraphy, is to communicate to the
imagination, without loss by the way,
the thought or image intended to be
communicated by the author. And the
whole duty of beautiful typography
is not to substitute 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 by the clearness and
beauty of the vehicle, and on the other
hand, to take advantage of every pause
or stage in that communication to
interpose some characteristic & restful
beauty in its own art. We thus have a
reason for the clearness and beauty of
the first and introductory page and of
the title, and for the especial beauty
of the headings of chapters, capital or
initial letters, and so on, and an opening
for the illustrator as we shall see by
The whole duty of typography, as with
calligraphy, is to communicate to the
imagination, without loss by the way,
the thought or image intended to be
communicated by the author. And the
whole duty of beautiful typography
is not to substitute 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 by the clearness and
beauty of the vehicle, and on the other
hand, to take advantage of every pause
or stage in that communication to
interpose some characteristic & restful
beauty in its own art. We thus have a
reason for the clearness and beauty of
the first and introductory page and of
the title, and for the especial beauty
of the headings of chapters, capital or
initial letters, and so on, and an opening
for the illustrator as we shall see by
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic
& restful beauty in its own art. We thus have a
reason for the clearness and beauty of the first and
introductory page and of the title, and for the
especial beauty of the headings of chapters, capital
or initial letters, and so on, and an opening for the
illustrator as we shall see by and by.
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic
& restful beauty in its own art. We thus have a
reason for the clearness and beauty of the first and
introductory page and of the title, and for the
especial beauty of the headings of chapters, capital
or initial letters, and so on, and an opening for the
illustrator as we shall see by and by.
20
21
The whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle,
and on the other hand, to take advantage of every pause or stage in
that communication to interpose some characteristic & restful beauty
in its own art. We thus have a reason for the clearness and beauty of
the first and introductory page and of the title, and for the especial
beauty of the headings of chapters, capital or initial letters, and so
on, and an opening for the illustrator as we shall see by and by. The
whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle, and
on the other hand, to take advantage of every pause or stage in that
communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of the
first and introductory page and of the title, and for the especial beauty
of the headings of chapters, capital or initial letters, and so on, and
an opening for the illustrator as we shall see by and by. The whole
The whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle,
and on the other hand, to take advantage of every pause or stage in
that communication to interpose some characteristic & restful beauty
in its own art. We thus have a reason for the clearness and beauty of
the first and introductory page and of the title, and for the especial
beauty of the headings of chapters, capital or initial letters, and so
on, and an opening for the illustrator as we shall see by and by. The
whole duty of typography, as with calligraphy, is to communicate
to the imagination, without loss by the way, the thought or image
intended to be communicated by the author. And the whole duty
of beautiful typography is not to substitute 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 by the clearness and beauty of the vehicle, and
on the other hand, to take advantage of every pause or stage in that
communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of the
first and introductory page and of the title, and for the especial beauty
of the headings of chapters, capital or initial letters, and so on, and
an opening for the illustrator as we shall see by and by. The whole
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic
& restful beauty in its own art. We thus have a
reason for the clearness and beauty of the first
and introductory page and of the title, and for
the especial beauty of the headings of chapters,
capital or initial letters, and so on, and an opening
for the illustrator as we shall see by and by. The
whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic &
restful beauty in its own art. We thus have a reason
for the clearness and beauty of the first
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic
& restful beauty in its own art.
21
20
21
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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
Typographic Design:
Form and Communication
The whole duty of typography, as with calligraphy, is to
communicate to the imagination, without loss by the way, the
thought or image intended to be communicated by the author. And
the whole duty of beautiful typography is not to substitute 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 by the clearness and beauty of
the vehicle, and on the other hand, to take advantage of every pause
or stage in that communication to interpose some characteristic &
restful beauty in its own art. We thus have a reason for the clearness
and beauty of the first and introductory page and of the title, and
for the especial beauty of the headings of chapters, capital or initial
letters, and so on, and an opening for the illustrator as we shall see
by and by. The whole duty of typography, as with calligraphy, is
to communicate to the imagination, without loss by the way, the
thought or image intended to be communicated by the author. And
the whole duty of beautiful typography is not to substitute 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 by the clearness and beauty of
the vehicle, and on the other hand, to take advantage of every pause
or stage in that communication to interpose some characteristic &
restful beauty in its own art. We thus have a reason for the clearness
and beauty of the first and introductory page and of the title, and
for the especial beauty of the headings of chapters, capital or initial
The whole duty of typography, as with calligraphy, is to
communicate to the imagination, without loss by the way, the
thought or image intended to be communicated by the author. And
the whole duty of beautiful typography is not to substitute 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 by the clearness and beauty of
the vehicle, and on the other hand, to take advantage of every pause
or stage in that communication to interpose some characteristic &
restful beauty in its own art. We thus have a reason for the clearness
and beauty of the first and introductory page and of the title, and
for the especial beauty of the headings of chapters, capital or initial
letters, and so on, and an opening for the illustrator as we shall see
by and by. The whole duty of typography, as with calligraphy, is
to communicate to the imagination, without loss by the way, the
thought or image intended to be communicated by the author. And
the whole duty of beautiful typography is not to substitute 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 by the clearness and beauty of
the vehicle, and on the other hand, to take advantage of every pause
or stage in that communication to interpose some characteristic &
restful beauty in its own art. We thus have a reason for the clearness
and beauty of the first and introductory page and of the title, and
for the especial beauty of the headings of chapters, capital or initial
letters, and so on, and an opening for the illustrator as we shall see
by and by. The whole duty of typography, as with calligraphy, is
to communicate to the imagination, without loss by the way, the
thought or image intended to be communicated by the author. And
the whole duty of beautiful typography is not to substitute 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 by the clearness and beauty of
the vehicle, and on the other hand, to take advantage of every pause
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic
& restful beauty in its own art. We thus have a
reason for the clearness and beauty of the first and
introductory page and of the title, and for the
especial beauty of the headings of chapters, capital
or initial letters, and so on, and an opening
The whole duty of typography, as with calligraphy,
is to communicate to the imagination, without
loss by the way, the thought or image intended to
be communicated by the author. And the whole
duty of beautiful typography is not to substitute
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 by the clearness
and beauty of the vehicle, and on the other hand,
to take advantage of every pause or stage in that
communication to interpose some characteristic
& restful beauty in its own art. We thus have a
reason for the clearness and beauty of the first and
introductory page and of the title, and for the
especial beauty of the headings of chapters, capital
or initial letters, and so on, and an opening
20
21
21
Typographic Design:
Form and Communication
Typographic Design: Form and Communication
The whole duty of typography, as with
calligraphy, is to communicate to the
imagination, without loss by the way,
the thought or image intended to be
communicated by the author. And the
whole duty of beautiful typography
is not to substitute 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 by the clearness and
beauty of the vehicle, and on the other
hand, to take advantage of every pause
or stage in that communication to
interpose some characteristic & restful
beauty in its own art. We thus have a
reason for the clearness and beauty of
the first and introductory page and of
the title, and for the especial beauty
of the headings of chapters, capital or
initial letters, and so on, and an opening
for the illustrator as we shall see by and
by. The whole duty of typography, as
with calligraphy, is to communicate to
the imagination, without loss by the
way, the thought or image intended
to be communicated by the author.
And the whole duty of beautiful
typography is not to substitute 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 by the clearness
and beauty of the vehicle, and on the
other hand, to take advantage of every
pause or stage in that communication to
interpose some characteristic &
21
The whole duty of typography, as with calligraphy, is to communicate to the
imagination, without loss by the way, the thought or image intended to be
communicated by the author. And the whole duty of beautiful typography
is not to substitute 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 by the clearness and beauty of
the vehicle, and on the other hand, to take advantage of every pause or stage
in that communication to interpose some characteristic & restful beauty in
its own art. We thus have a reason for the clearness and beauty of the first and
introductory page and of the title, and for the especial beauty of the headings
The whole duty of typography, as with calligraphy, is to communicate to
the imagination, without loss by the way, the thought or image intended
to be communicated by the author. And the whole duty of beautiful
typography is not to substitute 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
by the clearness and beauty of the vehicle, and on the other hand, to take
advantage of every pause or stage in that communication to interpose
some characteristic & restful beauty in its own art. We thus have a reason
for the clearness and beauty of the first and introductory page.
The whole duty of typography, as with
calligraphy, is to communicate to the
imagination, without loss by the way,
the thought or image intended to be
communicated by the author. And the
whole duty of beautiful typography
is not to substitute 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 by the clearness and
beauty of the vehicle, and on the other
hand, to take advantage of every pause
or stage in that communication to
interpose some characteristic & restful
beauty in its own art. We thus have a
reason for the clearness and beauty of
the first and introductory page and of
the title, and for the especial beauty
of the headings of chapters, capital or
initial letters, and so on, and an opening
for the illustrator as we shall see by
and by. The whole duty of typography
21
20
4-14
The manner in which text blocks are placed
on the page can greatly affect the overall tone of the
communication. These sample layouts suggest an
abundance of possibilities. Note the different ways
in which text blocks, images, and marginalia are
organized to define the space.
