The Moderns need lots of space (white space and inter-line space), so give them extra leading and generous margins; and if you pair a Modern with another face, then make sure it’s not a fussy one, or your page will look like a circus poster designed by a visually impaired dog. If you know the beautiful, yet austere architecture of Tadao Ando, then mixing a Didot with, say a Blackletter is akin to draping one of Ando’s monoliths in a giant lace doily.
Erik Spiekermann, in Stop Stealing Sheep, recommends ITC Bodoni as “much better at small sizes than all the others.”³
Modern-day Moderns
Open just about any fashion magazine, and you’ll spot a Didone. If it’s a premium brand (read “very expensive”), then it may well be brought to you on the back of Bodoni or Didot. Not being a subscriber to any fashion titles (you’d understand if you saw my wardrobe), I took a trip to my local café and snapped about 100 examples of Modern types. Here are just a few:
Modern typography reflected a modern, universal method of communication. This design concept assumes passive, almost automatic - subconscious visual experience. It counts on rationality of both, graphic designer/producer of the message and the audience that is receiving the message. The act of perception that is involved is simple act of seeing; reader is passive, detached and objective. “[Typographic style and layout] do not obstruct the transmission of meaning.” [1] Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.
The Modern typography states as its first objective to develop its visible form out of the functions of the text. For modernist designers it is essential to give pure and direct expression to the contents of whatever is printed: “Just as in the works of technology and nature, ‘form’ must be created out of function. Only then can we achieve typography that expresses the spirit of modern man. The function of printed text is communication, emphasis (word value), and the logical sequence of the contents.” [3] “The trend in modern typography is definitely toward simplicity and legibility, employing forms that comply with the natural inclination of the human eye to seek harmony and ease.” [4]
The Moderns need lots of space (white space and inter-line space), so give them extra leading and generous margins; and if you pair a Modern with another face, then make sure it’s not a fussy one, or your page will look like a circus poster designed by a visually impaired dog. If you know the beautiful, yet austere architecture of Tadao Ando, then mixing a Didot with, say a Blackletter is akin to draping one of Ando’s monoliths in a giant lace doily.
Erik Spiekermann, in Stop Stealing Sheep, recommends ITC Bodoni as “much better at small sizes than all the others.”³
Modern-day Moderns
Open just about any fashion magazine, and you’ll spot a Didone. If it’s a premium brand (read “very expensive”), then it may well be brought to you on the back of Bodoni or Didot. Not being a subscriber to any fashion titles (you’d understand if you saw my wardrobe), I took a trip to my local café and snapped about 100 examples of Modern types. Here are just a few:
Modern typography reflected a modern, universal method of communication. This design concept assumes passive, almost automatic - subconscious visual experience. It counts on rationality of both, graphic designer/producer of the message and the audience that is receiving the message. The act of perception that is involved is simple act of seeing; reader is passive, detached and objective. “[Typographic style and layout] do not obstruct the transmission of meaning.” [1] Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential.
The Modern typography states as its first objective to develop its visible form out of the functions of the text. For modernist designers it is essential to give pure and direct expression to the contents of whatever is printed: “Just as in the works of technology and nature, ‘form’ must be created out of function. Only then can we achieve typography that expresses the spirit of modern man. The function of printed text is communication, emphasis (word value), and the logical sequence of the contents.” [3] “The trend in modern typography is definitely toward simplicity and legibility, employing forms that comply with the natural inclination of the human eye to seek harmony and ease.” [4]
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