1jyF4uV

THE VIGNELLI CANON

We thank our friend Sheila Hicksfor her assistance in editing of the text.Book design:Massimo Vignelli with Beatriz CifuentesThis book is affectionately dedicated to Lella,my wife and professional partner.Together we shared our intellectual experiencesand growing process from the very beginningof our professional lives.Her creative intuition and sharp criticismhave enriched my life and have beenthe structural strength of our collaboration,without which my work would have beenworth much less.4

Josheph Müller-BrockmannAlan FletcherIntroductionAt the request of the publisher of this bookI started to look in to the meaning of such apublication and recognized that it could becomea useful instrument for a better understandingof typography in Graphic Design. This little bookreveals our guidelines - those set by ourselvesfor ourselves.In several teaching situations I remarked the lackof some basic typographic principles in youngdesigners. I thought that it might be useful to passsome of my professional knowledge around, withthe hope of improving their design skills.Creativity needs the support of knowledge to beable to perform at its best.It is not the intention of this little book to stiflecreativity or to reduce it to a bunch of rules.It is not the formula that prevents good designfrom happening but lack of knowledge of thecomplexity of the Design profession. It’s up to thebrain to use the proper formula to achieve thedesired result.With great pleasure I look back to all the momentswhen I learned something new in typography,either from a Master or from fellow practitioners.To have learned about disciplined design frommy Swiss fellows, to have learned about the whitespace from my American fellows, to have learnedabout the forceful impact of type from my Germanfellows, to have learned about wit from myEnglish fellows, and then even more from fellowseverywhere.That beautiful feeling of enrichment that comesfrom new discoveries, new ways of doing the samething better than before.It is my hope that this book may provide thatfeeling, or in any case confirm and reaffirmthose guidelines that we designers love to setfor ourselves.Willy FleckhausAlan FletcherGene Federico6

Part OneThe IntangiblesSemanticsSyntacticsPragmaticsDisciplineAppropriatenessAmbiguityDesign is OneVisual PowerIntellectual EleganceTimelessnessResponsibilityEquity8

Semantics10I have always said that there are three aspects inDesign that are important to me:Semantic, Syntactic and Pragmatic.Let’s examine them one at the time.Semantics, for me, is the search of the meaning ofwhatever we have to design.The very first thing that I do whenever I start anew assignment in any form of design, graphic,product, exhibition or interior is to search forthe meaning of it. That may start with researchon the history of the subject to better understandthe nature of the project and to find the mostappropriate direction for the developmentof a new design.Depending on the subject the search can takemany directions. It could be a search for moreinformation about the Company, the Product,the Market Position of the subject, theCompetition, its Destination, the final user, orindeed, about the real meaning of the subject andits semantic roots.It is extremely important for a satisfactory resultof any design to spend time on the search of theaccurate and essential meanings, investigatetheir complexities, learn about their ambiguities,understand the context of use to better define theparameters within which we will have to operate.In addition to that it is useful to follow ourintuition and our diagnostic ability to funnel theresearch and arrive to a rather conscious definitionof the problem at hand.Semantics are what will provide the real basesfor a correct inception of projects, regardless ofwhat they may be. Semantics eventually becomean essential part of the designer’s being, a crucialcomponent of the natural process of design, andthe obvious point of departure for designing.Semantics will also indicate the most appropriateform for that particular subject that we caninterpret or transform according to our intentions.However, it is important to distill the essence ofthe semantic search through a complex process,most of which is intuitive, to infuse the design withall the required cognitive inputs, effortlessly andin the most natural way possible. It is as in music,when we hear the final sound, without knowingall the processes through which the composerhas gone before reaching the final result. Designwithout semantics is shallow and meaninglessbut, unfortunately it is also ubiquitous, and thatis why it is so important that young designerstrain themselves to start the design process in thecorrect way- the only way that can most enrichtheir design.Semantics, in design, means to understand thesubject in all its aspects; to relate the subject tothe sender and the receiver in such a way that itmakes sense to both. It means to design somethingthat has a meaning, that is not arbitrary, thathas a reason for being, something in which everydetail carries the meaning or has a precise purposeaimed at a precise target. How often we see designthat has no meaning: stripes and swash of colorsplashed across pages for no reason whatsoever.Well, they are either meaningless or incrediblyvulgar or criminal when done on purpose.Unfortunately, there are designers and marketingpeople who intentionally look down on theconsumer with the notion that vulgarity hasa definite appeal to the masses, and thereforethey supply the market with a continuos flow ofcrude and vulgar design. I consider this actioncriminal since it is producing visual pollution thatis degrading our environment just like all othertypes of pollution. Not all forms of vernacularcommunication are necessarily vulgar, althoughvery often that is the case. Vulgarity implies ablatant intention of a form of expression thatpurposely ignores and bypasses any form ofestablished culture. In our contemporary worldit becomes increasingly more difficult to findhonest forms of vernacular communication asonce existed in the pre-industrial world.

PragmaticsWhatever we do, if not understood, fails tocommunicate and is wasted effort.We design things which we think are semanticallycorrect and syntactically consistent but if, at thepoint of fruition, no one understands the result, orthe meaning of all that effort, the entire work isuseless. Sometimes it may need some explanationbut it is better when not necessary. Any artifactshould stand by itself in all its clarity. Otherwise,something really important has been missed.The final look of anything is the by-product of theclarity (or lack of it) during its design phase. It isimportant to understand the starting point and allassumptions of any project to fully comprehendthe final result and measure its efficiency.Clarity of intent will translate in to clarity of resultand that is of paramount importance in Design.Confused, complicated designs reveal an equallyconfused and complicated mind.We love complexities but hate complications!Having said this, I must add that we like Designto be forceful. We do not like limpy design.We like Design to be intellectually elegant - thatmeans elegance of the mind, not one of manners,elegance that is the opposite of vulgarity.We like Design to be beyond fashionable modesand temporary fads. We like Design to be astimeless as possible.We despise the culture of obsolescence. We feelthe moral imperative of designing things that willlast for a long time.It is with this set of values that we approachDesign everyday, regardless of what it may be:two or three dimensional, large or small,rich or poor. Design is One!14

AppropriatenessThe notion of appropriateness is consequent towhat I have expressed. Once we search the rootsof whatever we have to design we are also definingthe area of possible solutions that are appropriate -specific to that particular problem. Actually, wecan say that appropriateness is the search forthe specific of any given problem. To define thatprevents us from taking wrong directions, oralternative routes that lead to nowhere or evenworse, to wrong solutions.Appropriateness directs us to the right kind ofmedia, the right kind of materials, the right kindof scale, the right kind of expression, color andtexture. Appropriateness elicits the enthusiasticapproval of the client seeing the solution to hisproblem. Appropriateness transcends any issue ofstyle - there are many ways of solving a problem,many ways of doing, but the relevant thing is that,no matter what, the solution must be appropriate.I think that we have to listen to what a thingwants to be, rather then contrive it in to anarbitrary confinement. However, sometimes theremay be other rules that one must follow to achievethe correct level of continuity.At least for me, this is a relevant issue which veryoften determines the look of the project to bedesigned. This issue is one of the fundamentalprinciples of our Canon.During the post-modern time, the verb “to beappropriate” assumed the meaning of borrowingsomething and transforming it by placing it ina different context. We could say that this kindof “appropriation” when appropriate, could bedone - just another way of solving a problem orexpressing creativity.18

AmbiguityRather than the negative connotation ofambiguity as a form of vagueness, I have a positiveinterpretation of ambiguity, intended as a pluralityof meanings, or the ability of conferring to anobject or a design, the possibility of being read indifferent ways - each one complementary to theother to enrich the subject and give more depth.We often use this device to enhance the expressionof the design and we treasure the end results.However, one has to be cautious in playing withambiguity because if not well measured it canbackfire with unpleasant results. Contradiction cansometimes reinforce ambiguity, but more oftenit is a sign of discontinuity and lack of control.Ambiguity and contradiction can enrich a projectbut can equally sink the end results.Therefore, great caution is recommended in usingthese spices.20

Design Is OneThe office of the Castiglioni Architects in Milanowas the first place, where at the age of 16, I wentto work as a draftsman. They were active in thewhole field of Design and Architecture followingthe Adolph Loos dictum that an Architect shouldbe able to design everything “from the spoon tothe city.” They had already designed a very iconicradio, beautiful silver flatware, camping furniture,witty stools, industrial bookshelves, nice housesand an incredible museum. Later they designedrestaurants, trade shows, exhibitions, furnitureand much more. They became the icons of ItalianDesign. I strongly recommend to all designersto investigate and study their work. I wastremendously impressed by the diversity of projectsand immediately fascinated by the Architect’spossibility of working in so many different areas.I discovered that what is important is to mastera design discipline to be able to design anything,because that is what is essential and needed onevery project.Design is one - it is not many different ones. Thediscipline of Design is one and can be applied tomany different subjects, regardless of style. Designdiscipline is above and beyond any style. All stylerequires discipline in order to be expressed.Very often people think that Design is a particularstyle. Nothing could be more wrong! Design is adiscipline, a creative process with its own rules,controlling the consistency of its output toward itsobjective in the most direct and expressive way.22Throughout my life I have hunted opportunities todiversify my design practice: from glass to metal,from wood to pottery to plastics, from printingto packaging, from furniture to interiors, fromclothing to costumes, from exhibitions to stagedesign and more. Everything was, and still is, atempting challenge to test the interaction betweenintuition and knowledge, between passion andcuriosity, between desire and success.

IntellectualEleganceWe often talk about Intellectual Elegance, not tobe confused with the elegance of manners andmores. For me, intellectual elegance is the sublimelevel of intelligence which has produced all themasterpieces in the history of mankind.It is the elegance we find in Greek statues, inRenaissance paintings, in the sublime writings ofGoethe, and many great creative minds.It is the elegance of Architecture of any period, theMusic of all times, the clarity of Science throughthe ages. It is the thread that guides us to the bestsolution of whatever we do. It is the definitive goalof our minds - the one beyond compromises.It elevates the most humble artifact to a noblestand. Intellectual elegance is also our civicconsciousness, our social responsibility, our senseof decency, our way of conceiving Design, ourmoral imperative. Again, it is not a design style,but the deepest meaning and the essenceof Design.26

TimelessnessWe are definitively against any fashion of designand any design fashion. We despise the culture ofobsolescence, the culture of waste, the cult of theephemeral. We detest the demand of temporarysolutions, the waste of energies and capital for thesake of novelty.We are for a Design that lasts, that responds topeople’s needs and to people’s wants. We arefor a Design that is committed to a society thatdemands long lasting values. A society that earnsthe benefit of commodities and deserves respectand integrity.We like the use of primary shapes and primarycolors because their formal values are timeless.We like a typography that transcends subjectivityand searches for objective values, a typographythat is beyond times - that doesn’t follow trends,that reflects its content in an appropriate manner.We like economy of design because it avoidswasteful exercises, it respects investment and lastslonger. We strive for a Design that is centered onthe message rather than visual titillation. We likeDesign that is clear, simple and enduring. And thatis what timelessness means in Design.28

ResponsibilityIn graphic design the issue of responsibilityassumes particular importance as a form ofeconomic awareness toward the most appropriatesolution to a given problem.Too often we see printed works produced ina lavish manner just to satisfy the ego of designersor clients. It is important that an economicallyappropriate solution is used and is one that takesin proper consideration all the facets ofthe problem.As much as this may seem obvious it is one ofthe most overlooked issues by both designers andclients. Responsibility is another form of discipline.As designers, we have three levels of responsibility:One - to ourselves, the integrity of the projectand all its components.Two - to the Client, to solve the problem ina way that is economically sound and efficient.Three - to the public at large, the consumer,the user of the final design.On each one of these levels we should be ready tocommit ourselves to reach the most appropriatesolution, the one that solves the problem withoutcompromises for the benefit of everyone.In the end, a design should stand by itself,without excuses, explanations, apologies.It should represent the fulfillment of a successfulprocess in all its beauty.A responsible solution.30

EquityMany times we have been asked to design a logoor a symbol for a Company - often at the requestof the marketing department to refresh theCompany’s position in the marketplace.Although this may be a legitimate request, veryoften, it is motivated by the desire of changemerely for the sake of change, and that is a verywrong motivation.A real Corporate Identity is based on an overallsystem approach, not just a logo.A logo gradually becomes part of our collectiveculture; in its modest way it becomes part of all ofus. Think of Coca Cola, think of Shell, or, why not,AmericanAirlines. When a logo has been in thepublic domain for more than fifty years it becomesa classic, a landmark, a respectable entity andthere is no reason to throw it away and substituteit with a new concoction, regardless of how well ithas been designed.Perhaps, because I grew up in a country wherehistory and vernacular architecture were part ofculture of the territory and was protected,I considered established logos something to beequally protected.The notion of a logo equity has been with us fromthe very beginning of time. When we were asked todesign a new logo for the FORD Motor Company,we proposed a light retouch of the old one whichcould be adjusted for contemporary applications.We did the same for CIGA HOTELS, CINZANO,LANCIA Cars and others. There was no reason todispose of logos that had seventy years of exposure,and were rooted in people’s consciousness with aset of respectable connotations.What is new is NOT a graphic form but a way ofthinking, a way of showing respect for historyin a context that usually has zero understandingfor these values.32

Part TwoThe TangiblesPaper SizesGrids, Margins, Columns and ModulesA Company LetterheadGrids for BooksTypefaces, The Basic OnesFlush left, centered, justifiedType Size RelationshipsRulersContrasting Type SizesScaleTextureColorLayoutsSequenceBindingIndentity and DiversityWhite SpaceA collection of experiencesConclusion34

Paper Sizes36The choice of paper size is one of the first of anygiven work to be printed. There are two basicpaper size systems in the world: the internationalA sizes, and the American sizes.The international Standard paper sizes, called theA series, is based on a golden rectangle, the divineproportion. It is extremely handsome and practicalas well. It is adopted by many countries aroundthe world and is based on the German DIN metricStandards. The United States uses a basic lettersize (8 1/2 x 11”) of ugly proportions, and resultsin complete chaos with an endless amount ofpaper sizes. It is a by-product of the culture of freeenterprise, competition and waste. Just anotherexample of the misinterpretations of freedom.These are the basic DIN sizes in mm. for :A0, 841x1189 - A1, 594x841 - A2, 420x594 -A3, 297x420 - A4, 210x297 - A5, 148x210 -A6, 105 x148 - A7, 74x 105 - A8, 52x74 -A9, 37x52 - A10, 26x37.The A4 is the basic size for stationary. Two thirdsof it is a square, a nice economical happenstanceresulting from the golden rectangle.It is one of the reasons we tend to use as muchas possible the DIN sizes: proportions are alwaysleading to other nice proportions.This does not happen with the American basicsize which leads to nothing. I counted 28 differentstandard sizes in USA!. The only reason we use itis because everybody in USA uses it, all stationaryin USA is that size, so are manilla folders, files andoffice equipment!The repercussion of ugliness is endless.The choice of paper in the market place isenormous. However, we tend to use a limitedselection of papers, choosing the most appropriatefor the job, rich or poor. We are quite consciousabout the use of paper and tend to use thosewhich are more ecologically sound, withoutcompromising the end result.For stationary we like to use a heavy paper (100%cotton - sub 28) for executive level, and a regularbond for business level. Same paper for theenvelopes, usually with a square flap. Size mayvary according to countries.For books, it depends very much on the kind ofbook. For text books, we use a book paper; forillustrated books we will use a coated, dull orglossy according to the subject, although we tendto prefer dull papers. The quality of reproductioncontinues to improve, better papers, better inks,better printing presses, better technologies.The field is in continuos motion and we have tokeep up with the times. Every technology impliesdifferent production costs and we should be awareand work with the suppliers to optimize costs andquality. Not all the countries share the same levelof printing quality and we have to try to obtain thebest in every situation.Not all papers are available around the world andthat sometime poses some quality problems.Whenever possible, we like to use both sides of asheet of paper, even when we do posters, offeringthe possibility of increasing and pacing theinformation on a large piece of paper, rather thanwasting one side.The most common poster sizes in Europe are:50x70, 70x100, 100x140 centimeters.More poster sizes are available in the USA.In designing a book, a brochure, or any otherkind of printed matter, the choice of the paper sizeinvolves quite a complexity of issues. Sometimesit has to conform to previous related publications,sometimes it has to break a new ground,sometimes the size itself becomes the carrier of amessage even before anything is printed on it.The choice of a size is a very important decision.It involves costs and is part of the overall economyof the production process. It is important that

a designer is fully aware of the printing processand the papers required for the most efficient andeconomic production of the printed work.The market offerings are wide but indiscriminate,governed more by the rules of competition thanby standards.Standardizing paper sizes, and consequentlypublication sizes, is a conscious contribution tothe environment, ultimately saving trees, reducingpollution and waste. The choice of a publicationsize should be made with an awareness of itsconsequences, understanding that ethics andaesthetics have a common semantic root thatshould be respected.It is our professional imperative to see that theseissues are respected.We should never forget that our task as designers isto bring dignity to our profession more than luster,and that opportunity is in every detail.A0A4A7A5 A2A1A338

Grids, Margins,Columnsand Modules40For us Graphic Design is “organization ofinformation.” There are other types of graphicdesign more concerned with illustration or of anarrative nature.Nothing could be more useful to reach ourintention than the Grid. The grid represents thebasic structure of our graphic design, it helps toorganize the content, it provides consistency, itgives an orderly look and it projects a level ofintellectual elegance that we like to express.There are infinite kinds of grids, but just one - themost appropriate - for any problem. Therefore, itbecomes important to know which kind of grid isthe most appropriate. The basic understanding isthat the smaller the module of the grid the leasthelpful it could be. We could say that an emptypage is a page with an infinitesimal small grid.Therefore, it is equivalent to not being there.Conversely a page with a coarse grid is a veryrestricting grid offering too few alternatives. Thesecret is to find the proper kind of grid for thejob at hand. Sometimes, in designing a grid wewant to have the outside margins small enoughto provide a certain tension between the edges ofthe page and the content. After that we divide thepage in a certain number of columns according tothe content, three, two, four, five, six, etc. Columnsprovide only one kind of consistency, but we alsoneed to have an horizontal frame of referenceto assure certain levels of continuity throughoutthe publication. Therefore, we will divide thepage from top to bottom in a certain number ofModules, four, six, eight, or more, according tosize and need. Once we have structured the page,we will begin to structure the information andplace it in the grid in such a way that the clarity ofthe message will be enhanced by the placementof the text on the grid. There are infinite ways ofdoing this and that is why the grid is a useful tool,rather than a constricting device. However, oneshould learn to use it so as to retrieve the mostadvantageous results.

2x4 Grid5x4 Grid3x6 Grid6x6 Grid4x8 Grid

A CompanyLetterhead44After setting the outside margins at 10mm. fromthe edges of the paper, we will divide the space inthree columns, leaving the left one blank for theuse of a logo, or names, or just empty space.The remaining two columns will be for the text.The overall asymmetrical layout conveys a feelingof modernity.At the top we will put the name of the Companystarting and containing it in the second column,in a way that it will look centered on the page.If we have established a horizontal grid of sixmodules, we will position the address of thereceiver on the second module, second column.The first fold of the letter will be in conjunctionwith the third module and just below that,the letter will start, typing the text flush leftfrom the second column toward the right margin.Sometimes we will position the logo (or thesymbol) on the first column, right below thefirst fold.Usually, we will place the sender’s address atthe bottom of the page splitting the informationbetween the second and the third columns.The over all look of the letterhead is accomplishedwhen the letter is typed with the message, andin this example, every component has its properplace, with the proper hierarchy and clarity.The proper choice of a typeface will give theappropriate final look to the stationary. Naturally,this is only one of the many possible combinationsfor a letterhead, according to our canon.The intention of this example is only todemonstrate the use of a grid in a letterhead.Another typical example of a letterhead is the onewith a central axis.For this kind of letterhead we will design a grid offive columns, of which, one is for the left margin,three are for the text and one is for the rightmargin. We will place the logo at the very top ofthe letter positioned in the center column.The addressee will be positioned on the secondmodule from the top and flush left with the secondABDIPHARMAMr. Recepient’s nameRecepient’s TitleRecepient’s addressCity, Province Zip codeCity, Date, YearDear Mr. Smith,Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diamnonummy nibh euismod tincidunt ut laoreet dolore magna aliquamerat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo.Duis autem vel eum iriure dolor in hendrerit in vulputate velit essemolestie consequat, vel illum dolore eu feugiat nulla facilisis at veroeros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis scing elit, sed diam nonummy nibheuismod tincidunt ut laoreet dolore magna aliquam erat volutpat.Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorpersuscipit dolor in hendrerit in vulputate velit esse molestie consequat,vel illum dolore eu feugiat nulla facilisis at vero eros et accumsanet iusto odio dignissim qui blandit praesent luptatum zzril delenit augueduis dolore te feugait nulla facilisi. Ut laoreet dolore magna aliquam eratvolutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat.Sincerely,Massimo VignelliKore Şehitleri Caddesi No:0000000 Zincirlikuyu - IstanbulT. +00 000 000 0000F. +00 000 000 0000www.abdiibrahim.com.trMr. Recepient’s name, Recepient’s TitleRecepient’s addressCity, Province Zip codeCity, Date, YearDear Mr. Smith,Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diamnonummy nibh euismod tincidunt ut laoreet dolore magna aliquamerat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo.Duis autem vel eum iriure dolor in hendrerit in vulputate velit essemolestie consequat, vel illum dolore eu feugiat nulla facilisis at veroeros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis scing elit, sed diam nonummy nibheuismod tincidunt ut laoreet dolore magna aliquam erat volutpat.Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorpersuscipit dolor in hendrerit in vulputate velit esse molestie consequat,vel illum dolore eu feugiat nulla facilisis at vero eros et accumsanet iusto odio dignissim qui blandit praesent luptatum zzril delenit augueduis dolore te feugait nulla facilisi. Ut laoreet dolore magna aliquam eratvolutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat.Sincerely,Massimo VignelliAziende Agricole SpaVia Filande, 6 Località Pianodardine 83100 AvellinoT. +39 0825 626406 F. +39 0825 610733 E. acasa@cantineacasa.itwww.cantineacasa.it

column. The letter will then start from the firstfold down. At the bottom of the page, the nameof the Company and its addresses all set centered.The final look is quite appropriate for moreconservative situations.For the envelopes we will place the logo on thefront of the envelope centered all the way tothe left, and the return address on the square flapof the back of the envelope.Naturally the same approach will be used to designa fax form, or an invoice, or any other piece ofstationary. The concept is basically the same.A page is structured by the grid and theinformation falls in the proper place, which isalways somehow connected to the grid.The purpose of the grid is to help to preventarbitrary, meaningless placements of theinformation on the printed page. Obviously, thereare many ways of doing even that - some moreinspired than others.The illustrations provide several examples forstationary layouts.It is just like in music, where five lines and sevennotes allow one to make infinite compositions.That is the magic of the grid.Andrew SmithDirector of CommunicationAddress informationTelephone +0 00 000 0000Fax +0 00 000 0000andrew.smith@company.comMr. Recepient’s name, Recepient’s TitleRecepient’s addressCity, Province Zip codeCity, Date, YearDear Mr. Smith,Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diamnonummy nibh euismod tincidunt ut laoreet dolore magna aliquamerat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo.Duis autem vel eum iriure dolor in hendrerit in vulputate velit essemolestie consequat, vel illum dolore eu feugiat nulla facilisis at veroeros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis scing elit, sed diam nonummy nibheuismod tincidunt ut laoreet dolore magna aliquam erat volutpat.Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorpersuscipit dolor in hendrerit in vulputate velit esse molestie consequat,vel illum dolore eu feugiat nulla facilisis at vero eros et accumsanet iusto odio dignissim qui blandit praesent luptatum zzril delenit augueduis dolore te feugait nulla facilisi. Ut laoreet dolore magna aliquam eratvolutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat.Sincerely,Massimo VignelliRosario Norte 660Teléfono (56-2) 330 4100 / 330 4000Las Condes, SantiagoFax (56-2) 330 4001Chilewww.corpvida.clFaxFromToVignelliD. Fernando SiñaCompanyFax numberCorpVida (56-2) 330 4001DateN. of pages11 Octubre 20061SubjectPresentación Identidad CorporativaLorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diamnonummy nibh euismod tincidunt ut laoreet dolore magna aliquamerat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tationullamcorper suscipit lobortis nisl ut aliquip ex ea commodo.Duis autem vel eum iriure dolor in hendrerit in vulputate velit essemolestie consequat, vel illum dolore eu feugiat nulla facilisis at veroeros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis scing elit, sed diam nonummy nibheuismod tincidunt ut laoreet dolore magna aliquam erat volutpat.Sincerely,Massimo Vignelli46Rosario Norte 660Las Condes, SantiagoChileTeléfono (56-2) 330 4100 / 330 4000Fax (56-2) 330 4001www.corpvida.cl

Grids for BooksFor the design of a book the grid provides againstructure and continuity from cover to cover.In a picture book, according to the content, thegrid could have a number of columns and subcolumnsto organize the information accordingly.In agreement with the content the size of the bookwill be the first thing to be determined. A bookwith square pictures will be square, a book withrectangular pictures will be rectangular or oblong,in accord with the most appropriate way toexhibit the material. The content determinesthe container - a basic truth also in book design.It is a good practice to relate the grid to theproportion of the majority of pictures, so that therewill be the least need for cropping their images.Today photographers are more careful about thecomposition of their images, so the grid should bedevised to take that in proper consideration.By structuring the grid accordingly the book willhave a higher level of integrity than otherwise.The illustrations provide several examples of gridsfor several kinds of books.48

We have designed grids for books, magazines,newspapers, and posters - each one with its ownlevel of specificity - but all following the samebasic concept of organizing information.One element of refinement is to plan a grid in sucha way that type and illustrations follow the sameexact grid. To do that a specific leading should bedetermined for the type area of each module withthe illustration modules coinciding. This givesgreat elegance of detail to the printed page.It is considered to be “good typography” as doneby the Masters.Depending on the size of the book we like to keepthe space between the columns and the modulesrather tight - ideally the size of a line of type -which helps to achieve what I said above.One of the great advantages of the computer is inthe definition of the grid which can be achieved ina very precise way and much better than before.One can draw a grid based on the leading size,the picture proportions, as well as havingoverlapping grid for different parts of the content.Naturally, the more complex the grid is, the morecomplicated the layout becomes, and one hasto be very careful about that.Lorem ipsum dolor sit ametLorem ipsum dolor sit amet, inmaecenas pharetra gravida ullamcorperneque. Sed hendrerit proin diam duis eu,cursus odio placerat ultrices adipiscinglectus ornare, ut velit nonummy, quidemvitae turpis enim. Adipiscing a lectus,scelerisque tempus vivamus ac. Arcufermentum nibh, turpis pharetra gravidaurna pellentesque vel, mi sodales, justocongue pretium lectus condimentum,quisque diam consectetur interdum.Ac lorem pellentesque cras, ligula risusinteger velit incidunt, luctus nisl iaculisaliquam aenean amet nulla, conguevarius, metus donec senectus sed nisiplacerat condimentum. Arcu fermentumnibh, turpis pharetra gravida urnapellentesque vel, mi sodales, justo risusinteger velit incidunt, luctus nisl conguepretium lectus condimentum.Pellentesque cras, ligula risus integervelit incidunt, luctus nisl iaculis aliquamaenean amet nulla, congue varius,metus donec senectus sed nisi placeratcondimentum.Lorem ipsum dolor sit ametAliquam proin et magnis sit augue,nisl in quos odio eu odio, pellentesquesuspendisse nec non pulvinar duicras, sollicitudin at. Libero cras vel elitiaculis eget. Ultrices orci id egestas atrisus sit. Lorem ipsum dolor sit amet, inmaecenas pharetra gravida ullamcorperneque. Sed hendrerit proin diam duiseu, scelerisque tempus vivamus ac.Arcu fermentum nibh, pharetra gravida.Urna pellentesque vel, mi sodales, justocongue pretium lectus condimentum,quisque diam consectetur interdum.Ac lorem pellentesque cras, ligula risusinteger velit incidunt, luctus nisl iaculisaliquam aenean amet nulla, conguevarius, metus donec senectus sed nisiplacerat condimentum. Aliquam proin etmagnis sit augue, nisl in quos odio euodio, pellentesque suspendisse nec nonpulvinar dui cras, sollicitudin at.Libero cras vel elit iaculis eget. Ultricesorci id egestas at risus sit. Lorem ipsumdolor sit amet, in maecenas pharetragravida ullamcorper neque. Sedhendrerit proin diam duis eu, cursusodio placerat ultrices adipiscing lectusornare, ut velit nonummy, quidemvitae turpis enim. Adipiscing a lectus,scelerisque tempus odio, pellentesquesuspendisse nec non vivamus ac.52

TypefacesThe Basic Ones54The advent of the computer generated thephenomena called desktop publishing. Thisenabled anyone who could type the freedom ofusing any available typeface and do any kind ofdistortion. It was a disaster of mega proportions.A cultural pollution of incomparable dimension.As I said, at the time, if all people doing desktoppublishing were doctors we would all be dead!Typefaces experienced an incredible explosion.The computer allowed anybody to design newtypefaces and that became one of the biggestvisual pollution of all times.In order to draw attention to that issue I madean exhibition showing work that we had doneover many years by using only four typefaces:Garamond, Bodoni, Century Expanded, andHelvetica. The aim of the exhibition was to showthat a large variety of printed matter could bedone with an economy of type with great results.In other words, is not the type but what you dowith it that counts. The accent was on structurerather than type.I still believe that most typefaces are designedfor commercial reasons, just to make money orfor identity purposes. In reality the number ofgood typefaces is rather limited and most of thenew ones are elaborations on pre-existing faces.Personally, I can get along well with a halfa dozen, to which I can add another half a dozen,but probably no more.Besides those already mentioned, I can addOptima, Futura, Univers (the most advanced designof the century since it comes in 59 variations ofthe same face), Caslon, Baskerville, and a few othermodern cuts. As you can see my list is pretty basicbut the great advantage is that it can assure betterresults. It is also true that in recent years the workof some talented type designers has produced someremarkable results to offset the lack of purposeand quality of most of the other typefaces.One of the most important elements in typographyis scale and size relationship. Naturally thereare many ways of understanding and expressingtypography. I am not interested in describingall the different possibilities as much I am inexpressing my point of view and my approach.I see typography as a discipline to organizeinformation in the most objective way possible.I do not like typography intended as an expressionof the self, as a pretext for pictorial exercises.I am aware that there is room for that too, but it isnot my language and I am not interested in it.I don’t believe that when you write dog the typeshould bark!I prefer a more objective approach: I try to make asclear as possible the different parts of a message byusing space, weight, and typographic alignments,such as flush left, centered or justified.There are times when a specific type designmay be appropriate, mostly for a logo or a shortpromotional text, particularly in very ephemeralor promotional contexts.These are not our typical areas of involvement butwhenever a brilliant solution is found I appreciateboth the intent and the results.I strongly believe that design should never beboring, but I don’t think it should be a formof entertainment.Good design is never boring, only bad design is.

Garamond, 1532ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890Bodoni, 1788ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890Century Expanded, 1900ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890Futura, 1930ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890Times Roman, 1931ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz123456789056Helvetica, 1957ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890

Vignelli Associates DesignersSegnaletica luminosa di identificazione StazioneSegnaletica DirezionaleVignelli Associates Designers5mm1500mmVignelli Associates Designers475 Tenth AvenueNew York, New York 10018Telephone 212/244 1919Fax 212/967 4961e-mail design@vignelli.comwww.vignelli.com475 Tenth AvenueNew York, New York 10018Telephone 212/244 1919Fax 212/967 4961e-mail design@vignelli.comwww.vignelli.com10mm475 Tenth AvenueNew York, New York 10018Telephone 212/244 1919Fax 212/967 4961e-mail design@vignelli.comwww.vignelli.com250mm300mm5mmGrandi Stazioni S.p.A. 7 Giugno, 1999 Pagina 6Progetto:Segnaletica delle Stazioni FSMedie e Piccole25mm600mmSegnaletica d’InformazioneSegnaletica di identificazione Stazione sull’EdificioSegnaletica Direzionale:Dimensione e modulazione deipannelli in alluminio verniciato aspruzzo su cui le lettere e ipittogrammi possono essereapplicati tramite serigrafia opellicola adesiva.Scala 1:5Grandi Stazioni S.p.A. 7 Giugno, 1999 Pagina 79Progetto:Segnaletica di Identificazione:Segnaletica delle Stazioni FSTipologie di pannelli in alluminioMedie e Piccoleverniciato a spruzzo su cui lelettere e i pittogrammi possonoessere applicati tramite serigrafiao pellicola adesiva.Scala 1:550mm150mm600mmGrandi Stazioni S.p.A. 7 Giugno, 1999 Pagina 912Progetto:Segnaletica di Identificazione:Segnaletica delle Stazioni FSPannelli quadrati a doppia facciaMedie e Piccolesporgenti a bandiera dalla paretedell’edificio o dai pilastri lungo ibinari. Pannelli e supporti inalluminio verniciato a spruzzo sucui pittogrammi e numeri possonoessere applicati tramite serigrafiao pellicola adesiva.Scala 1:525mm150mmVignelli Associates DesignersVignelli Associates Designers50mmVignelli Associates Designers475 Tenth AvenueNew York, New York 10018Telephone 212/244 1919Fax 212/967 4961e-mail design@vignelli.comwww.vignelli.com475 Tenth AvenueNew York, New York 10018Telephone 212/244 1919Fax 212/967 4961e-mail design@vignelli.comwww.vignelli.com475 Tenth AvenueNew York, New York 10018Telephone 212/244 1919Fax 212/967 4961e-mail design@vignelli.comwww.vignelli.comGrandi Stazioni S.p.A. 7 Giugno, 1999 Pagina 11 8Progetto:Segnaletica di IdentificazioneSegnaletica delle Stazioni FSdi Stazione:Medie e PiccolePannelli in alluminio verniciato aspruzzo con lettere ritagliate eilluminate all’interno.Scala 1:102500mm100mm600mm1500mmGrandi Stazioni S.p.A. 7 Giugnoo, 1999 Pagina 810Progetto:Segnaletica di Identificazione:Segnaletica delle Stazioni FSPannelli in alluminio verniciato aMedie e Piccolespruzzo su cui le lettere e ipittogrammi possono essereapplicati tramite serigrafia opellicola adesiva.Scala 1:51500mm50mm150mm300mmGrandi Stazioni S.p.A. 7 Giugno, 1999 Pagina 10 13Progetto:Segnaletica di Identificazione:Segnaletica delle Stazioni FSEsempi di pannelli in alluminioMedie e Piccoleverniciato a spruzzo applicatidirettamente sulla parete.Pannelli quadrati e supporti inalluminio verniciato a spruzzo sucui pittogrammi e numeri possonoessere applicati tramite serigrafiao pellicola adesiva.Frasc300mmFrasFrascatiUscita75mm 100mmLa sala d'attesa resterá chiusadalle ore 24,00 alle ore 5,00BiglietteriaSottopassaggioAi binariUscitaVietato attraversare i binariServirsi del sottopassaggio3 23 2BiglietteriaUscitaUscita

Flush Left,Centered,JustifiedMost of the time we use flush left. This typeof alignment derives from metal composition,particularly in Linotype. Formerly it was faster tokeep the alignment on the left side rather thenhaving to kern the slug for every line. It alsomakes more sense since in our culture we readfrom left to right and it is better for the eyeto go to the next line than having to cope withhyphens all the time. However, it is important tocontrol the shape of the rugged side by shiftingsometimes the text from line to line to obtaina better profile. This may be time consuming butaesthetically rewarding.We use centered for lapidary text, invitations, orany rhetorical composition where it may be moreappropriate, or for the address at the bottom ofa letterhead, and for business cards.Justified is used more for text books,but it is not one of our favorites because it isfundamentally contrived.Lorem ipsum dolor sit amet, in maecenaspharetra gravida ullamcorper neque.Sed hendrerit proin diam duis eu, cursusodio placerat ultrices adipiscing lectusornare, ut velit nonummy, quidem vitaeturpis enim. Adipiscing a lectus, scelerisquetempus vivamus ac. Arcu fermentumnibh, turpis pharetra gravida urnapellentesque vel, mi sodales, justo conguepretium lectus condimentum, quisque diamconsectetur interdum. Aliquam proin etmagnis sit augue, nisl in quos odio eu odio,pellentesque suspendisse nec non pulvinardui cras, sollicitudin at.Lorem ipsum dolor sit amet, in maecenas pharetragravida ullamcorper neque. Sed hendreritproin diam duis eu, cursus odio placerat ultricesadipiscing lectus ornare, ut velit nonummy, quidemvitae turpis enim. Adipiscing a lectus, scelerisquetempus vivamus ac. Arcu fermentum nibh,turpis pharetra gravida urna pellentesque vel,mi sodales, justo congue pretium lectus condimentum,quisque diam consectetur interdum. Aliquam proinet magnis sit augue, nisl in quos odio eu odio,pellentesque suspendisse nec non pulvinar dui cras,sollicitudin at.66Lorem ipsum dolor sit amet, in maecenaspharetra gravida ullamcorper neque.Sed hendrerit proin diam duis eu, cursusodio placerat ultrices adipiscing lectusornare, ut velit nonummy, quidemvitae turpis enim. Adipiscing a lectus,scelerisque tempus vivamus ac. Arcufermentum nibh, turpis pharetra gravidaurna pellentesque vel, mi sodales, justocongue pretium lectus condimentum,quisque diam consectetur interdum.Aliquam proin et magnis sit augue,nisl in quos odio eu odio, pellentesquesuspendisse nec non pulvinar dui cras,sollicitudin at.

Type SizeRelationshipWe have some basic rules for typesetting. Choosethe proper size of type in relation to the width ofthe column:8 on 9, 9 on 10, 10 on 11 pt for columns upto 70 mm.12 on 13, 14 on 16 for columns up to 140 mm.16 on 18, 18 on 20, for larger columns.Naturally every situation may require a differentratio. For display reasons we like to set the typemuch larger or increase the leading to achieve aparticular effect.Basically we stick to no more then two type sizeson a printed page, but there are exceptions.We like to play off small type with larger type -usually twice as big (for instance, 10 pt text and20 pt headings). I prefer to keep the same size forheads and subheads in a text, and just make themin bold, with a line space above and none below,or two line spaces above and one below accordingto the context.We love type size consistency in a book, which isalso more economical since you can set a stylepage and stick to it.TitleTitleLorem ipsum dolor sit amet, in maecenas pharetra gravidaullamcorper neque. Sed hendrerit proin diam duis eu,cursus odio placerat ultrices adipiscing lectus ornare, ut velitnonummy, quidem vitae turpis enim. Adipiscing a lectus,scelerisque tempus vivamus ac. Arcu fermentum nibh, turpispharetra gravida urna pellentesque vel, mi sodales, justocongue pretium lectus condimentum, quisque diam consecteturinterdum. Aliquam proin et magnis sit augue, nisl in quos odioeu odio, pellentesque suspendisse nec non pulvinar dui cras,sollicitudin at.Lorem ipsum dolor sit amet, in maecenas pharetra gravidaullamcorper neque. Sed hendrerit proin diam duis eu,cursus odio placerat ultrices adipiscing lectus ornare, ut velitnonummy, quidem vitae turpis enim. Adipiscing a lectus,scelerisque tempus vivamus ac. Arcu fermentum nibh, turpispharetra gravida urna pellentesque vel, mi sodales, justocongue pretium lectus condimentum, quisque diam consecteturinterdum. Aliquam proin et magnis sit augue, nisl in quos odioeu odio, pellentesque suspendisse nec non pulvinar dui cras,sollicitudin at.We try to achieve a typographic compositionthat expresses intellectual elegance as opposed toblatant vulgarity by using typographic devices: aproper amount of leading for the context, a properuse of roman or italic type, a regular spacing, atight kerning, using rulers when appropriate (toseparate different parts of the message), and alogical use of bold, regular and light type weights.We do not like the use of type as a decorativeelement, and we are horrified by any typedeformation. There are situations, however, as inpackaging design where a more flexible attitudecould provide better results. But even there, whenused, should be with great moderation.TitleLorem ipsum dolor sit amet, in maecenas pharetra gravidaullamcorper neque. Sed hendrerit proin diam duis eu,cursus odio placerat ultrices adipiscing lectus ornare, ut velitnonummy, quidem vitae turpis enim. Adipiscing a lectus,scelerisque tempus vivamus ac.Arcu fermentum nibh, turpis pharetra gravida urna pellentesquevel, mi sodales, justo congue pretium lectus condimentum,quisque diam consectetur interdum. Aliquam proin et magnissit augue, nisl in quos odio eu odio, pellentesque suspendissenec non pulvinar dui cras, sollicitudin at.68

Salotti Fissi o con LettoStoccolma 1Codice Articolo Metri Tessuto Tessuto Tessuto Tessuto Tessuto PelleTessuto Cliente Cat.B Cat.C-D Cat.E-F Cat. Extra0009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 2906Stoccolma 2Codice Articolo Metri Tessuto Tessuto Tessuto Tessuto Tessuto PelleTessuto Cliente Cat.B Cat.C-D Cat.E-F Cat. Extra0009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 29060009003 Div. 80 1 Rete 160 9.66 1 711 1797 1879 20 18 2272 2906RulersWhen using rulers I set a hierarchy of weights toclarify the different parts of the text. In a form, forinstance, bolder rulers (2 pt) will separate majorparts of the text, light rulers (1/2 pt or 1 pt) willseparate items within each part of the form.In that situation the type between the rulers willbe 8 pt, always set closer to the ruler above.Type should always hang from the ruler, regardlessof the size. This is another little but importantdetail of my Canon.I have a great love and respect for typographyand I tried to learn as much as possible from allthe great Masters. Most of the things that I havesaid have been practiced by the Masters of the XXCentury. The basic rules of typography have beenset long ago but as beautiful scores they have beenplayed in different ways by many talented artists,all making a mark and opening a new way withtheir interpretations.StoccolmaFecha de Aperturade AperturaNombresApellido Paterno M CiudadRegistro N. CuentaApellido Materno Estado Civil1. TitularFecha de Nacimiento TeléfonoMas. Fem.Cat. Econ. N. D Profesión o Actividad RUT/C.I. Numero Depto. Comuna NombresCivilDirección 2. Segundo Titular Cuenta BipersonalApe lido Paterno Apellido Materno Fecha de Nacimiento D M Profesión o Actividad Estado Fem.TeléfonoCiudadCat. Econ. N. Mas. TeléfonoRUT/C.I. Numero Depto. Comuna Dirección 3. Datos Adicionales Sólo Personas JurídicasNombre Numero Ciudadde la CuentaCasilla Comuna Dirección Ca le N. 4. Aceptación de CondicionesDeclaro conocer y aceptar en todas sus Cuenta de aho ro pactada con un máximo de giro(s)partes las condiciones que rigen las cuentas por periodo para reterner derecho a reajuste, para los efectos de considerarde aho ro a plazo de CorpBanca, las que se la cantidad máxima de giros pactados, el primer periodo anual comprendeespecifican al reverso de este registro, hasta el último día del mes de de 200 fecha en que se efectuará además declaro bajo juramento que los capitalización; los periodo siguientes comprenden 12 meses de calendario sucesivos.hechos consignados por el suscrito(a) sonfidesignos.Fecha de de 200Depto. Firma Firma Titular 2acto, declaro(amos) recibircontrato”“En este copia fiel de este Firma Titular 270

ContrastingType SizesOne of the most exciting elements of typographyfor me is the contrast of scale on a printed page.I love the play between a very large type size forheadlines versus a much smaller type size for thebody text, with proper white space in between.White space for me is a very important elementin graphic composition. It is really the white thatmakes the black sing. White, in typography, iswhat space is in Architecture. It is the articulationof space that gives Architecture the perfect pitch.Another element is the relationship among typesizes in the same printed page. Our first rule is tostick to one or two type sizes at the most.If necessary, there are other devices such asbold, light, roman and italic to differentiatedifferent parts of a text, but even there, stick tothe minimum. Type weights can be used to greatadvantage when dedicated to a specific function,rather than be used for color purposes or evenworse as a phonetic analogy.Some people who talk loud and tend to screamtrying to persuade you, love to increase the sizeand weight of type to make the message louder.That is exactly what I consider intellectualvulgarity - something we try to stay away from.In a world where everybody screams, silence isnoticeable. White space provides the silence.That is the essence of our typography.72

ScaleThe notion of scale is an essential element of thedesign vocabulary. In the previous paragraph Ihave given some examples of the meaning of scalein graphic design. Scale is the most appropriatesize of an object in its natural context. However,it can be manipulated to achieve particularexpression in a particular context - actuallyby being purposely out of scale. To master thenotion of scale is a lifelong search that involvesinterpretation of functions, both tangible andintangible, physical, and psychological. Scaleapplies to everything. It can be right or it can bewrong; it can be appropriate or inappropriate; toobig or too small for the task at hand. In design theissue of scale is continuously present and we haveto master it regardless of the subject because itdoesn’t allow mistakes.The choice of the proper material, its thickness,its texture, its color, its weight, its sound, itstemperature - every detail assails our sensesand provokes a response. Therefore, we must bein control of it because by choosing the mostappropriate one to convey our message we succeedin our intent. Design means to be in control ofevery detail and scale is one of the most relevantones. And so is its opposite, when it is deliberatelychosen. An example which comes to mind isthe sculptures by Claus Oldenburg where thetransformation of scale in a particular contextgives power and life to the object.Manipulation of scale implies knowledge and fullawareness of the meaning of scale.74

TextureLight is the master of form and texture. It is bymastering light that we can achieve the expressionof any artifact. The basic qualities of reflection orabsorption of light are the elements to play within designing any kind of object. A glass will revealits color when light passes through it, or will betrapped inside of it if the surface has been etched,engraved, or treated with some texture.A silver object, when polished, reflects light andwhen engraved, will trap the light. Any shinysurface reflects light, any dull surface absorbslight, and this is true for any material includingpaper. A polished material has completely differentand sometimes opposite connotations from amatte surface, a wide spectrum ranging from richto poor, from opulent to restrained. Texture hasan infinite range of tactile or visual experiencesand it is essential for designers to sharpen theirperception in order to articulate and master themedia. It is through the choice of materials andtheir finishes that we articulate the shape ofan object to express its content, to celebrate itsappropriateness, to reveal its soul.Texture and color in a mutually supportingdialogue define any creative artifact - anythingwaiting for us to decode its inner secrets andthereby enrich our perception and transfer itto whatever we choose.76

ColorMost of the time we use color as a Signifier, or asan Identifier. Generally speaking we do not usecolor in a pictorial manner. Therefore, we tend toprefer a primary palette of Red, Blue, and Yellow.This may seem restrictive. This doesn’t mean thatwe do not like colors or that we are not sensitive tothem.It merely means that most of the time we like touse color to convey a specific message, therefore,we tend to use it more as symbol or as anidentifier. This is particularly true in CorporateIdentity Programs where Chromotype becomesthe Identifier along with the Logotype or otherdevices (morphotypes, phonotypes etc.)We have used the entire spectrum of colors toexpress moods, feelings, passions, connotationsand more. Color is a very important element inthe formulation of our projects, but, as we dowith typefaces, we have limited and articulatedour palette to express the message in the clearestand most understandable way. There are timesfor strong primary colors and times for subtlepastel colors; there are times for just black andwhite; and times where rich browns and heartycolors work more appropriately to the task athand. Appropriateness is one of the rules we use inchoosing colors knowing how effective it can be touse the right color at the right time.78

Layouts80Any kind of publication has different layoutrequirements. However, it is inevitable that thelayouts reflect the interpretation of the designer.Most publications are composed of text, imagesand captions and the task of the designer is tosift through the images to select those which bestportray the essence of the content and possessthe quality of becoming an icon.An icon is an image that expresses its content inthe most memorable way.Once again, in designing any kind of publicationthe most helpful device is the grid.Once the outside margins are established (I tendto like narrow margins to increase the tension)the basic grid should be devised according to thenature of the publication: 2, 3 or 4 columns for abook or a brochure, 6 or more, for a newspaper.Once the number of vertical divisions are decidedthe next step is horizontal divisions which willprovide the number of modules per page.Again 2, 3, 4, 5, 6, 8 or more, according to thevariety need of the publication. In defining thegrid, one has to keep in mind what kind of visualmaterial will comprise the layout.For square pictures a square grid may be betterthan a rectangular one, well suited for rectangularimages. Or, if the publication has a consistentvariety of the two formats, one could design adouble grid accommodating both situations.Or, otherwise, when appropriate, crop the pictureto follow the grid.It is important to remember that many devices areavailable to make layouts exciting. The purpose ofthe grid is to provide consistency to the layouts,but not necessarily excitement - which will beprovided by the sum of all the elements in thedesign. Outlined images, line drawings, and boldinitials, can add sparks to the page as a varietyof other devices. Great designs can be achievedwithout the use of the grid, but the grid is a veryuseful tool to guarantee results.Ultimately the most important device is themanagement of the white space in the layouts.It is the white space that makes the layout sing.Bad layouts have no space left for breathing - everylittle space covered by a cacophony of type-sizes,images, and screaming titles.For literary books the margins follow a differentset of considerations, ranging from the positionof the thumbs - when holding the book - to anoverall shape of the text column, or to the needof providing space for side notations (either by theauthor or by the reader). Some considerations arepractical others are aesthetic. We have designedall kind of books covering a variety of needs andsituations. It is important that proper attention isgiven even to small details, such as to design themost appropriate margins for that publication.Every detail is important to achieve the final lookof a publication.I have applied these basic rules to an endless listof publications, from brochures to annual reports,from books to encyclopedias, from magazines tonewspapers, from programs to posters and I still doit with pretty good results.

SequenceIf sifting the images is the first task in theprocess of publication, the sequence of layouts isdefinitively the next one.A publication, whether a magazine, a book,a brochure, or even a tabloid is a cinematicobject where turning of the pages is an integralpart of the reading experience. A publication issimultaneously the static experience of a spreadand the cinematic experience of a sequence ofpages. Therefore, we attribute great importance tothis detail of the layout process. We like the layoutsto be forceful. We do not like limpy layouts withlittle pictures spreaded around the pages -some bleeding here, some bleeding there in acasual way. We tend to like a form of layout thatalmost disappears to the eyes of the reader.We would say that if you see the layout, it isprobably a bad layout!The book layout we tend to favor is a very simpleformat of a page of text beside a picture on a fullbleed page, followed by a full bleed picture spread,followed by a page with a full bleed picture facing awhite page with a picture - either on the center orupper right corner.A simple format gives rewarding results when thebasic sequence is articulated in a way that is notrepetitive. Actually the nature of the publicationwill help to overcome the monotony of thisapproach. We would rather see this sort of neutralapproach than the obtrusive assault of manylayouts, but, then again, there should be room foreveryone in the creative process.84

BindingOne cannot talk about books without discussingthe binding. The binding of a book or a brochureadds the final touch of quality to the product.There are several components in a binding andseveral choices to make:Cover If the cover is going to be laminatedwith paper you must recommend a calenderedcardboard so that the surface will be smooth. Ifthe cover is going to be laminated with cloth orleather a regular chipboard could be sufficient.Spine The spine could be round or square.We prefer the square because it gives the booka sharper look.Headband This is the finish between the spineand the book. It exist in many variations and welike the plain white most.Endpapers This is the part that connects thebook to its binding and it is usually made with astronger paper than the one of the book.It could be printed in a solid color or have apattern or an illustration. In the past very fancyendpapers were used for this function.88Sandwich Early in my career I developed a typeof book binding that I called “sandwich”. Itconsists of a panel of chipboard, or any othermaterial, on the front and one at the end of thebook glued to the endpapers. The spine is made ofcloth, generally white, with the title hot-stampedon it. The final look is that of two gray boardsholding a stack of white pages. Hence, the namesandwich binding. Since then it has becomecommon, and sometimes the cover is printed,laminated, and wrapped around the cardboard.The main reason for this binding is to enablethe book to open flat - which is particularlyconvenient in picture books when you have oneimage across the spread.

Identity andDiversityThe notion of identity and diversity is a recurrenttheme in both two and three dimensional design.In a Corporate Identity Program enoughdiversity must be provided to avoid sameness andto increase attention.Too much diversity creates fragmentation -a very common disease of badly designedcommunication. Too much identity generatesperceptive redundancy and lack of retention.Therefore, it is necessary to achieve the properbalance between those components, or to offerenough flexibility in any given design solutionto overcome those pitfalls. We like to play withthose elements. We like to design a strong identityprogram in which there is enough room to playappropriateness without loosing identity.A typical example would be a book series wherethe basic identifiers are constant and the specificillustration changes from cover to cover.Also, in the design of furniture, we like to involvethe user to define the final look of the object.In some of the tables we have designed,changing the relative position of the elementsprovides diversity without compromising theidentity of the design.Identity and diversity - an essential contrapositionto bring life to design.90

White SpaceI often say that in typography the white space ismore important than the black of the type.The white space on the printed page is thecorrespondent of space in architecture. In bothsituations space is what qualifies the context.Naturally, the organization of information needsa structure to hold together, but one should notunderestimate the importance of white space tobetter define the hierarchy of every component.White space, non only separates the different partsof the message but helps to position the message inthe context of the page. Tight margins establish atension between text, images and the edges of thepage. Wider margins deflate the tension and bringabout a certain level of serenity to the page.Tight type setting transforms words into lines justas loose type settings transform words in to dots.Decreasing or increasing the letter spacing(kearning) confers very distinctive characterand expression to the words. All this is spacemanipulation and it is this device that is used inlayouts to achieve a desired expression.The relationship between the size of type and thespace around it is one of the most delicate andprecious elements of a composition. I must saythat the masterful handling of white space on aprinted page is perhaps the most peculiar attributeof American graphic design. Just like space is theprotagonist in Frank Lloyd Wright’s architecture.Somehow, it relates to the epic grandeur of theAmerican landscapes.For many artists white space is the essential elementof the composition. It is the fundamental qualifierand protagonist of the image. Almost all the greatAmerican graphic designers have used whitespace as the significant silence to better hear theirmessage loud and clear.Such is indeed the power of the white space.92

A collectionof experiencesVery early on we discovered that modular andstandard dimensions offer benefits that areeconomical from both cost and meaning pointsof view. The use of standard and modular sizesof paper in the printing industry can achieveconsiderable savings. The standardization of papersizes in the project we did for the National ParkService economized million of dollars - somethingwe are proud of.Standardization related to the size of constructionmaterials can bring significant savings in any threedimensional project. Odd sizes imply more laborcosts and waste of materials.It is imperative that a designer becomes familiarwith all these aspects of design and the realizationprocess. It is part of our ethics as well as our designvocabulary. Costly solutions can never be a productof good design because economy is at the essenceof the design expression. Economy doesn’t meancheap design. Economy in design is the mostappropriate and lean solution to every problem.Contrived solutions are never good nor long lasting.Quality is not necessarily more expensive thancheap solutions. Good design doesn’t cost more thanbad design. The opposite is quite true, very often.In the course of a lifetime it’s been possible tocontinuously evaluate details covering the wholespectrum of materials from the diameter ofa pipe, to the texture and color of any material.This process of observation and selection hasgradually built up an inventory of choicesand feelings eventually leading to a personalcanon - which becomes a recurrent elementof our creative vocabulary.I think that this is quite an important aspect ofa modus operandi. There are some basic elements,such as size relationship between parts of a givenobject, that are governed very often by a modularrelationship ranging, for example, from single todouble, from one to three, or four or more, but notan odd size in between. Also, a disc within a discwill have a diameter half the size of the larger ora third of it but not an odd, casual size. And thatis because there is some universal harmony thatdemands those choices.This process of sifting and selecting extends toeverything around us - colors, textures, materials.It involves every detail, thickness, width, andheight. Every sense of our body gets involvedbut it must be processed, analyzed, evaluated,and finally filed in our memory according to ourpersonal canon, not in an arbitrary way. Freedomof choice can only happen with knowledge andthat is an ongoing process that requires structureand determination, not happenstance.94

ConclusionThroughout our creative lives we have siftedthrough everything to select what we thought best.We sifted through materials to find those for whichwe have the closest affinity. We sifted throughcolors, textures, typefaces, images, and graduallywe built a vocabulary of materials and experiencesthat enable us to express our solutions to givenproblems - our interpretations of reality.It is imperative to develop your own vocabulary ofyour own language - a language that attempts tobe as objective as possible, knowing very well thateven objectivity is subjective.I love systems and despise happenstance.I love ambiguity because, for me, ambiguity meansplurality of meanings. I love contradictionbecause it keeps things moving, preventing themfrom assuming a frozen meaning, or becoming amonument to immobility.As much as I love things in flux, I love themwithin a frame of reference - a consistentreassurance that at least and at last I am the oneresponsible for every detail.And that is why I love Design.96