Graphics Reference
In-Depth Information
TYPOGRAPHIC SYNTAX
The letter
Our initial discussion of typographic syntax
addresses the intrinsic character of the
individual letter. This well-drawn form,
exhibiting subtlety and precision, is the unit
that distinguishes one family of type from
another. It exists in various weights, sizes, and
shapes (Fig.
5-1
).
Although the letter typically functions as
part of a word, individual letters are frequently
combined into new configurations. As shown
in Figures
5-2
and
5-3
, combinations of letters
A
and
g
and
P
and
Q
are unified to create
a stable gestalt. In the illustrated examples,
there is an expressiveness and boldness to the
individual letters. The syntax displayed here
is an example of letter combinations acting as
signs, extracted from a larger system of signs.
A typographic sign is visually dynamic
because of its interaction with the surrounding
void—the white of the paper. This form-to-
void relationship is inherent in the totality
of typographic expression. The repetition
of the letter
T
in Figure
5-4
is balanced and
complemented by its white space. In the title
page for Hans Arp's book
On My Way
, the
visual interplay between the three letterforms
animates the page (Fig.
5-5
). This equilibrium
and spatial interaction and the manner in
which it is achieved will be discussed further
in our study of typographic space.
Contemplating this ability of space to
define form, Amos Ih Tiao Chang—architect
and author of
The Tao of Architecture
—
observed, “It is the existence of intangible
elements, the negative, in architectonic forms
which makes them come alive, become human,
naturally harmonize with one another, and
enable us to experience them with human
sensibility.”
5-1
This composition
demonstrates contrasting
visual characteristics
of three letterforms.
(Designer: Robert Boyle)
5-2
Through precise
letterform drawing and
carefully considered
form-to-counterform
interaction, two
dissimilar letters
form a cohesive sign.
(Designer: Gail Collins)
