He uses numerous examples to convey applications in practice - from product design via signaletics and graphic design to Corporate Design. By doing this he is making. Religion and Art in the Heart of Modern Manhattan. Peter's Lutheran Church, set in the heart of midtown Manhattan. In the s the church made a radical move, scrapping its neo-gothic building for a sleek. Original text and image by Massimo Vignelli. Graphic Design Discourse. It could be a search for more makes sense to both.
It means to design something information about the Company, the Product, that has a meaning, that is not arbitrary, that the Market Position of the subject, the has a reason for being, something in which every Competition, its Destination, the final user, or detail carries the meaning or has a precise purpose indeed, about the real meaning of the subject and aimed at a precise target.
How often we see design its semantic roots. I consider this action of the problem at hand. Not all forms of vernacular what they may be. Vulgarity implies a component of the natural process of design, and blatant intention of a form of expression that the obvious point of departure for designing.
In our contemporary world form for that particular subject that we can it becomes increasingly more difficult to find interpret or transform according to our intentions. R Express in Manhattan and Brooklyn; Local in Queens Local Local that controls the proper use of grammar in the It is not a geographical map: relative distances have been altered in favor of better legibility.
Free transfers can be made between E Weekends: Local in Manhattan adjacent dots at the same station or between stations connected by pedestrian links. FF G G FG construction of phrases and the articulation of a Local lines show dots at all stations; express lines show dots only at express stations. We design things which we think are semantically correct and syntactically consistent but if, at the point of fruition, no one understands the result, or the meaning of all that effort, the entire work is useless.
Sometimes it may need some explanation but it is better when not necessary. Any artifact should stand by itself in all its clarity. Otherwise, something really important has been missed. The final look of anything is the by-product of the clarity or lack of it during its design phase. It is important to understand the starting point and all assumptions of any project to fully comprehend the final result and measure its efficiency.
Clarity of intent will translate in to clarity of result and that is of paramount importance in Design. Confused, complicated designs reveal an equally confused and complicated mind. We love complexities but hate complications! Having said this, I must add that we like Design to be forceful.
We do not like limpy design. We like Design to be intellectually elegant - that means elegance of the mind, not one of manners, elegance that is the opposite of vulgarity. We like Design to be beyond fashionable modes and temporary fads. We like Design to be as timeless as possible. We despise the culture of obsolescence. We feel the moral imperative of designing things that will last for a long time. It is with this set of values that we approach Design everyday, regardless of what it may be: two or three dimensional, large or small, rich or poor.
Design is One! There is no room for sloppiness, for carelessness, for procrastination. Every detail is important because the end result is the sum of all the details involved in the creative process no matter what we are doing.
There are no hierarchies when it comes to quality. Quality is there or is not there, and if is not there we have lost our time. It is a commitment and a continuously painstaking effort of the creative process to which we should abide. That is Discipline and without it there is no good design, regardless of its style. Discipline is a set of self imposed rules, parameters within which we operate.
It is a bag of tools that allows us to design in a consistent manner from beginning to end. Discipline is also an attitude that provides us with the capacity of controlling our creative work so that it has continuity of intent throughout rather than fragmentation.
Design without discipline is anarchy, an exercise of irresponsibility. Once we search the roots of whatever we have to design we are also defining the area of possible solutions that are appropriate - specific to that particular problem.
Actually, we can say that appropriateness is the search for the specific of any given problem. To define that prevents us from taking wrong directions, or alternative routes that lead to nowhere or even worse, to wrong solutions. Appropriateness directs us to the right kind of media, the right kind of materials, the right kind of scale, the right kind of expression, color and texture. Appropriateness elicits the enthusiastic approval of the client seeing the solution to his problem.
Appropriateness transcends any issue of style - 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 thing wants to be, rather then contrive it in to an arbitrary confinement.
However, sometimes there may be other rules that one must follow to achieve the correct level of continuity. At least for me, this is a relevant issue which very often determines the look of the project to be designed. This issue is one of the fundamental principles of our Canon. We often use this device to enhance the expression of the design and we treasure the end results.
However, one has to be cautious in playing with ambiguity because if not well measured it can backfire with unpleasant results. Contradiction can sometimes reinforce ambiguity, but more often it is a sign of discontinuity and lack of control. Ambiguity and contradiction can enrich a project but can equally sink the end results.
Therefore, great caution is recommended in using these spices. Later they designed restaurants, trade shows, exhibitions, furniture and much more. They became the icons of Italian Design. I strongly recommend to all designers to investigate and study their work.
I discovered that what is important is to master a design discipline to be able to design anything, because that is what is essential and needed on every project. Design is one - it is not many different ones. The discipline of Design is one and can be applied to many different subjects, regardless of style.
Design discipline is above and beyond any style. All style requires discipline in order to be expressed. Very often people think that Design is a particular style. Nothing could be more wrong! Design is a discipline, a creative process with its own rules, controlling the consistency of its output toward its objective in the most direct and expressive way.
Throughout my life I have hunted opportunities to diversify my design practice: from glass to metal, from wood to pottery to plastics, from printing to packaging, from furniture to interiors, from clothing to costumes, from exhibitions to stage design and more. Everything was, and still is, a tempting challenge to test the interaction between intuition and knowledge, between passion and 22 curiosity, between desire and success.
Visual Power We say all the time that we like Design to be visually powerful. We cannot stand Design that is weak in concept, form, color, texture or any or all of them. We think good Design is always an expression of creative strength bringing forward clear concepts expressed in beautiful form and color, where every element expresses the content in the most forceful way.
There are infinite possibilities to achieve a powerful expression. In graphic design, for instance, difference of scale within the same page can give a very strong impact. Bold type contrasting with light type creates visually dynamic impressions. We have used this approach successfully in our graphic design. In three dimensional design, manipulating light through different textures and materials gives infinite and effective results. Changing scale and contrasting sizes provide an impressive array of possibilities.
It is essential that a design is imbued with visual strength and unique presence to achieve its purpose. Visual strength can be achieved also by using delicate layouts or materials. Visual strength is an expression of intellectual elegance and should never be confused with just visual impact - which, most of the time, is just an expression of visual vulgarity and obtrusiveness.
Visual power is, in any event, a subject which deserves great attention to achieve effective design. For me, intellectual elegance is the sublime level of intelligence which has produced all the masterpieces in the history of mankind. It is the elegance we find in Greek statues, in Renaissance paintings, in the sublime writings of Goethe, and many great creative minds.
It is the elegance of Architecture of any period, the Music of all times, the clarity of Science through the ages. It is the thread that guides us to the best solution of whatever we do. It is the definitive goal of our minds - the one beyond compromises.
It elevates the most humble artifact to a noble stand. Intellectual elegance is also our civic consciousness, our social responsibility, our sense of decency, our way of conceiving Design, our moral imperative.
Again, it is not a design style, but the deepest meaning and the essence of Design. We despise the culture of obsolescence, the culture of waste, the cult of the ephemeral. We detest the demand of temporary solutions, the waste of energies and capital for the sake of novelty. We are for a Design that is committed to a society that demands long lasting values.
A society that earns the benefit of commodities and deserves respect and integrity. We like the use of primary shapes and primary colors because their formal values are timeless. We like economy of design because it avoids wasteful exercises, it respects investment and lasts longer. We strive for a Design that is centered on the message rather than visual titillation. We like Design that is clear, simple and enduring. And that is what timelessness means in Design. Too often we see printed works produced in Three - to the public at large, the consumer, a lavish manner just to satisfy the ego of designers the user of the final design.
It is important that an economically On each one of these levels we should be ready to appropriate solution is used and is one that takes commit ourselves to reach the most appropriate in proper consideration all the facets of solution, the one that solves the problem without the problem. As much as this may seem obvious it is one of In the end, a design should stand by itself, the most overlooked issues by both designers and without excuses, explanations, apologies.
Responsibility is another form of discipline. It should represent the fulfillment of a successful As designers, we have three levels of responsibility: process in all its beauty. A responsible solution. Although this may be a legitimate request, very often, it is motivated by the desire of change merely for the sake of change, and that is a very wrong motivation.
A real Corporate Identity is based on an overall system approach, not just a logo. A logo gradually becomes part of our collective culture; in its modest way it becomes part of all of us. When a logo has been in the public domain for more than fifty years it becomes a classic, a landmark, a respectable entity and there is no reason to throw it away and substitute it with a new concoction, regardless of how well it has been designed. Perhaps, because I grew up in a country where history and vernacular architecture were part of culture of the territory and was protected, I considered established logos something to be equally protected.
The notion of a logo equity has been with us from the very beginning of time. When we were asked to design a new logo for the FORD Motor Company, we proposed a light retouch of the old one which could be adjusted for contemporary applications.
What is new is NOT a graphic form but a way of thinking, a way of showing respect for history in a context that usually has zero understanding for these values. Same paper for the The international Standard paper sizes, called the envelopes, usually with a square flap. Size may A series, is based on a golden rectangle, the divine vary according to countries. It is extremely handsome and practical as well. It is adopted by many countries around For books, it depends very much on the kind of the world and is based on the German DIN metric book.
For text books, we use a book paper; for Standards. The quality of reproduction paper sizes. It is a by-product of the culture of free continues to improve, better papers, better inks, enterprise, competition and waste. Just another better printing presses, better technologies. The field is in continuos motion and we have to keep up with the times. Every technology implies These are the basic DIN sizes in mm. Not all the countries share the same level A6, x - A7, 74x - A8, 52x74 - of printing quality and we have to try to obtain the A9, 37x52 - A10, 26x Not all papers are available around the world and The A4 is the basic size for stationary.
Two thirds that sometime poses some quality problems. This does not happen with the American basic The most common poster sizes in Europe are: size which leads to nothing.
I counted 28 different 50x70, 70x, x centimeters. The only reason we use it More poster sizes are available in the USA. Sometimes it has to conform to previous related publications, The choice of paper in the market place is sometimes it has to break a new ground, enormous.
However, we tend to use a limited sometimes the size itself becomes the carrier of a selection of papers, choosing the most appropriate message even before anything is printed on it.
We are quite conscious The choice of a size is a very important decision. The market offerings are wide but indiscriminate, governed more by the rules of competition than by standards. Standardizing paper sizes, and consequently publication sizes, is a conscious contribution to the environment, ultimately saving trees, reducing pollution and waste. The choice of a publication size should be made with an awareness of its A4 A5 A2 consequences, understanding that ethics and aesthetics have a common semantic root that should be respected.
It is our professional imperative to see that these A7 issues are respected. We should never forget that our task as designers is to bring dignity to our profession more than luster, and that opportunity is in every detail.
Nothing could be more useful to reach our intention than the Grid. The grid represents the basic structure of our graphic design, it helps to organize the content, it provides consistency, it gives an orderly look and it projects a level of intellectual elegance that we like to express.
There are infinite kinds of grids, but just one - the most appropriate - for any problem. Therefore, it becomes important to know which kind of grid is the most appropriate. The basic understanding is that the smaller the module of the grid the least helpful it could be.
We could say that an empty page 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 very restricting grid offering too few alternatives. The secret is to find the proper kind of grid for the job at hand. Sometimes, in designing a grid we want to have the outside margins small enough to provide a certain tension between the edges of the page and the content. After that we divide the page in a certain number of columns according to the content, three, two, four, five, six, etc.
Columns provide only one kind of consistency, but we also need to have an horizontal frame of reference to assure certain levels of continuity throughout the publication. Therefore, we will divide the page from top to bottom in a certain number of Modules, four, six, eight, or more, according to size and need.
Once we have structured the page, we will begin to structure the information and place it in the grid in such a way that the clarity of the message will be enhanced by the placement of the text on the grid.
There are infinite ways of doing this and that is why the grid is a useful tool, rather than a constricting device. However, one should learn to use it so as to retrieve the most 40 advantageous results. Dear Mr. Smith, At the top we will put the name of the Company Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation starting and containing it in the second column, ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo.
Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse in a way that it will look centered on the page. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper modules, we will position the address of the suscipit dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue receiver on the second module, second column.
Ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation The first fold of the letter will be in conjunction ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Sincerely, with the third module and just below that, the letter will start, typing the text flush left Massimo Vignelli from the second column toward the right margin. Sometimes we will position the logo or the symbol on the first column, right below the first fold.
The over all look of the letterhead is accomplished when the letter is typed with the message, and in this example, every component has its proper Mr. Naturally, Dear Mr. Smith, Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam this is only one of the many possible combinations nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero The intention of this example is only to eros et accumsan et iusto odio dignissim qui blandit praesent lup tatum zzril delenit augue duis scing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit dolor in hendrerit in vulputate velit esse molestie consequat, Another typical example of a letterhead is the one vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Ut laoreet dolore magna aliquam erat with a central axis.
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. For this kind of letterhead we will design a grid of Sincerely, five columns, of which, one is for the left margin, three are for the text and one is for the right Massimo Vignelli margin. We will place the logo at the very top of the letter positioned in the center column.
The letter will then start from the first fold down. At the bottom of the page, the name of the Company and its addresses all set centered. The final look is quite appropriate for more Mr. Smith, Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam of the back of the envelope. Ut wisi enim ad minim veniam, quis nostrud exerci tation andrew. Naturally the same approach will be used to design Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero a fax form, or an invoice, or any other piece of eros et accumsan et iusto odio dignissim qui blandit praesent lup tatum zzril delenit augue duis scing elit, sed diam nonummy nibh stationary.
The concept is basically the same. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper A page is structured by the grid and the suscipit dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue information falls in the proper place, which is duis dolore te feugait nulla facilisi.
Sincerely, The purpose of the grid is to help to prevent arbitrary, meaningless placements of the Massimo Vignelli information on the printed page. Obviously, there are many ways of doing even that - some more inspired than others. It is just like in music, where five lines and seven Fax notes allow one to make infinite compositions.
From To Vignelli D. CorpVida Date N. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent lup tatum zzril delenit augue duis scing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat.
In a picture book, according to the content, the grid could have a number of columns and sub- columns to organize the information accordingly. In agreement with the content the size of the book will be the first thing to be determined. A book with square pictures will be square, a book with rectangular pictures will be rectangular or oblong, in accord with the most appropriate way to exhibit the material. The content determines the container - a basic truth also in book design. It is a good practice to relate the grid to the proportion of the majority of pictures, so that there will be the least need for cropping their images.
Today photographers are more careful about the composition of their images, so the grid should be devised to take that in proper consideration. By structuring the grid accordingly the book will have a higher level of integrity than otherwise. The illustrations provide several examples of grids for several kinds of books. Sed hendrerit proin diam duis eu, basic concept of organizing information. Adipiscing a lectus, a way that type and illustrations follow the same scelerisque tempus vivamus ac.
Arcu fermentum nibh, turpis pharetra gravida exact grid. To do that a specific leading should be urna pellentesque vel, mi sodales, justo congue pretium lectus condimentum, determined for the type area of each module with quisque diam consectetur interdum. Ac lorem pellentesque cras, ligula risus the illustration modules coinciding. This gives integer velit incidunt, luctus nisl iaculis great elegance of detail to the printed page. Arcu fermentum nibh, turpis pharetra gravida urna by the Masters.
One can draw a grid based on the leading size, the picture proportions, as well as having Lorem ipsum dolor sit amet Aliquam proin et magnis sit augue, overlapping grid for different parts of the content.
Libero cras vel elit complicated the layout becomes, and one has iaculis eget. Ultrices orci id egestas at risus sit. Lorem ipsum dolor sit amet, in to be very careful about that. Sed hendrerit proin diam duis eu, scelerisque tempus vivamus ac. Arcu fermentum nibh, pharetra gravida. Urna pellentesque vel, mi sodales, justo congue pretium lectus condimentum, quisque diam consectetur interdum. Ac lorem pellentesque cras, ligula risus integer velit incidunt, luctus nisl iaculis aliquam aenean amet nulla, congue varius, metus donec senectus sed nisi placerat condimentum.
Aliquam proin et magnis sit augue, nisl in quos odio eu odio, pellentesque suspendisse nec non pulvinar dui cras, sollicitudin at. Libero cras vel elit iaculis eget.
Lorem ipsum dolor sit amet, in maecenas pharetra gravida ullamcorper neque. Sed hendrerit proin diam duis eu, cursus odio placerat ultrices adipiscing lectus ornare, ut velit nonummy, quidem vitae turpis enim. Adipiscing a lectus, scelerisque tempus odio, pellentesque suspendisse nec non vivamus ac.
This typography. I am not interested in describing enabled anyone who could type the freedom of all the different possibilities as much I am in using any available typeface and do any kind of expressing my point of view and my approach. It was a disaster of mega proportions. I see typography as a discipline to organize A cultural pollution of incomparable dimension. As I said, at the time, if all people doing desktop I do not like typography intended as an expression publishing were doctors we would all be dead!
Typefaces experienced an incredible explosion. I am aware that there is room for that too, but it is The computer allowed anybody to design new not my language and I am not interested in it. In order to draw attention to that issue I made I prefer a more objective approach: I try to make as an exhibition showing work that we had done clear as possible the different parts of a message by over many years by using only four typefaces: using space, weight, and typographic alignments, Garamond, Bodoni, Century Expanded, and such as flush left, centered or justified.
The aim of the exhibition was to show that a large variety of printed matter could be There are times when a specific type design done with an economy of type with great results. The accent was on structure or promotional contexts. These are not our typical areas of involvement but I still believe that most typefaces are designed whenever a brilliant solution is found I appreciate for commercial reasons, just to make money or both the intent and the results.
Personally, I can get along well with a half Good design is never boring, only bad design is. Besides those already mentioned, I can add Optima, Futura, Univers the most advanced design of the century since it comes in 59 variations of the same face , Caslon, Baskerville, and a few other modern cuts.
As you can see my list is pretty basic but the great advantage is that it can assure better results.
0コメント