japan typography annual 1989

Hardcover: 349 pages
Publisher: Robundo
Language: Japanese English
ISBN-10: 494761322X
ISBN-13: 978-4947613226
Product Dimensions: 29.6 x 21.4 x 3.4 cm
Release Date: 1989
Price: sold

Book Design: Takaaki Bando

Typography derived from content

Helmut Schmid

According to etymology typography
means to imprint marks. Marks not as forceful as highways which carve through landscapes Marks not as unmovable as architectural monuments which dominate city silhouettes. Typographic marks are of an unassuming imprint. But typographic marks are omnipresent, they are the notation of thought. Typefaces are the material of typography. They are made by the typeface designer and they are manipulated and organized by the typographer.
The typographer is the interpreter of thought.

‘The craft of the typographer, like any other.
necessarily reflects the timesThe age gives him the means with which to satisfy the needs the age creates. There are two sides to typography. First, it does a practical job of work; and second, it is concerned with artistic form. Both these aspects, the utilitarian and the formal, have ever been true children of their day and age; sometimes form has been accentuated, sometimes function, and in particularly blessed periods form and function have
been felicitously balanced.‘ Emil Ruder

To me, the what is always more essential
than the how. Poor typography may degrade but never devalue meaning. Beautiful typography Without meaning remains therefore formalism. An advertisement for a mediocre product does not improve the product even when well designed. superficially observed we encounter a period of form. New wave, post-modernism, peace-posterism, logo typism, Cl ism; I see many forms but I cannot discover
the contents. Formalism instead of formulation.

Michelangelo once said of sculpture that
the finished form exists within the uncut stone; the sculptor need only release it. Also in typography, the demands of the visual presentation, so to speak,already embodied in the content, are embodied in the nature of the job. A newspaper is read hastily and in spurts
and the differentiation in information fields serves to present the news quicker. In a book,
in case it is still designed to be read line after line, the design must pay attention to the natural of reading‘ The selection of typeface, typesize, inter-character space, Word space,
line length, inter-line space, and text amount per column or page are of crucial importance.
Just like a certain cooking time is required to bring out the taste of Spaghetti, or like a certain amount of Water is crucial for a good tasting rice. In a book the pleasant typeface, the pleasant paper, the comfortable size and the comfortable weight are part of the overall image. A timetable and a contents page must inform
at first glance. A poster for a political movement should motivate and activate. An invitation
should invite and delight.

Typography derived from content asks for preparatory work. Only when a job is comprehended, when a structure is worked out,
only then can the content of the message be effectively organized and interpreted. It is not enough to draw an attractive-looking grid and to place the content into it. It is the content which dictates the grid. It is the illustration which dictates its size, it is the ever-changing interrelationship between space, typeface, illustration and photo, which dictates the solution.

The freedom and beauty of typography rest in its restriction and in the differentiation and visualization of meaning. Design is personality. In my view, it seems more significant to
spend time on the essentials and to refine the
details rather than to persue the old ideas.
It is not the accidental that makes a designer but
his creative continuity. A designer who borrows first from the romantic Lubalin, then from the intellectual Sugiura, and then again from the angular Brody, betrays not only himself but also the professional ethic Then design becomes just a supermarket and the designer functions only as the salesman of styles of fashion. It was Matisse who said that the personality of an artist is shaped in the fights which
he has to carry out. Typography must be challenging and inventive, but it must also be honest and credible. To work in typography means
to have fights. Fights for a personal expression. Fighting off fashionable trends. Ignoring useless and tasteless typefaces. l believe that the typographer who can see and apply the elegance of Garamond, the economy of Times and the gracefulness of Univers has gained
freedom in his Work.

I understand typography not as a masquerade of typeforms but as a stage setting of con~ tents. Decorations on typeforms are similar to todays TV talents who hide their thin voices behind fancy dress costumes and robot-like gestures But neither do 1 mean boring and evenly grey character—landscapes as they appear in misunderstood modern typography. Just as in music, Where 12 tones and the interval are enough to notate any possible melody, so too can a typographic work be expressed
with one typeface family and the use of space.

On the technical side the possibilities have,
in the meantime, increased incredibly. Even the smallest involvement with type today creates new problems for us. The margins for individual decision making have increased, but sotoo have the margins for errors. Nowadays,
detail needs to be redefined for practically each new job, leading to a time-consuming and
costly working condition.

Good typefaces are sensitive. They have characteristics, they have needs, they have iife. Univers depends on open inter~character spacing, on good detail work, and on a generous layout. Helvetica and Times are rather modest in their working conditions. And Rotis needs yet to be assessed. Without familiarisation with a typeface printed matter will always be
legible, but will lack expression. Why do new typefaces have so little success? Not only because they are inferior, but also because they have no interpreters. In principle, anyone can make a noise on an instrument, but it takes
practice to play it. The same must surely apply to typography.

Visually, characters are sound sculptures.
The minutest change made to a part of a design requires a revamping of the whole. This point becomes significant in the design of a logotype, because in a logotype a limited number of characters must be united into a new harmony. The smallest detail in the thickness of strokes, inform and counter form, in rhythm and space,
separate a good logotype from a poor logotype.

A logotype should be an unobtrusive
part of the product itself, but it should have a certain identification value, a mnemonic device, to stand on its own in an advertisement or in
a TV commercial. But the logotype should never become just an image maker but a signature
of quality for a product or company.

The typographer, the designer, is not only confronted to give shape to content, but he has a responsibility to save the valuable and not just to replace the old and proven with the modern and modernistic. Some of the typographic
rules make sense even today and should not be ignored or forgotten. Not every company symbol needs to be renewed, nor every logotype transplanted and “improved” into the Roman
alphabet and not every space needs to be
“designed”and destroyed.

One criteria of a typeface is its usability.
One criteria of a typographic Work is its success. And success in typography does not necessarily mean when it is selected in an annual or for an exhibition, but when the content reaches
the anticipated reader in the same Way as it was intended by the author and interpreted by the typographer.




凡庸な製品の広告は、たとえ美しくデザインされていても、製品の質を高めることはない。ごく表面的な観察であるが、わたしたちは、今、フォルムの時代の直中にいる。ニュー・ウェーブ、ポスト・モダニズム、ピース・ポスターリズム、ロゴタイピズム、CI-イズム; 実に多くのフォルムがあるが内容があるものが見当たらない。公式化[フォーミュレーション]ではなくて形式主義[フォーマリズム]。










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