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Massimo Vignelli
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We thank our friend Sheila Hicks This book is affectionately dedicated to Lella,
for her assistance in editing of the text. my wife and professional partner.
Together we shared our intellectual experiences
Book design:
and growing process from the very beginning
Massimo Vignelli with Beatriz Cifuentes
of our professional lives.
Her creative intuition and sharp criticism
have enriched my life and have been
the structural strength of our collaboration,
without which my work would have been
worth much less.
4
Jo
Introduction At the request of the publisher of this book sh
e
p
I started to look in to the meaning of such a h M
ü
publication and recognized that it could become lle
a useful instrument for a better understanding r-Bro
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k
of typography in Graphic Design. This little book m
a
n
reveals our guidelines - those set by ourselves n
for ourselves.
In several teaching situations I remarked the lack
of some basic typographic principles in young
designers. I thought that it might be useful to pass
some of my professional knowledge around, with
the hope of improving their design skills.
Creativity needs the support of knowledge to be
able to perform at its best.
G
It is not the intention of this little book to stifle e
n
e
creativity or to reduce it to a bunch of rules. eF
d
e
It is not the formula that prevents good design cir
o
Alan Fletc fcbroroamminp hlteoax piutpysee no tfihn tegh epb ruDotpe lseairgc fnko ropmfr okufnelaso swtioole nad.c ghIeti’ eso vfue tp ht hteoe the Willy Fleckhaus
h desired result.
e
r
With great pleasure I look back to all the moments
when I learned something new in typography,
either from a Master or from fellow practitioners.
To have learned about disciplined design from
my Swiss fellows, to have learned about the white
space from my American fellows, to have learned
A
about the forceful impact of type from my German al
n
fellows, to have learned about wit from my elF
ct
h
English fellows, and then even more from fellows e
r
everywhere.
That beautiful feeling of enrichment that comes
from new discoveries, new ways of doing the same
thing better than before.
It is my hope that this book may provide that
feeling, or in any case confirm and reaffirm
those guidelines that we designers love to set
for ourselves.
6
Part One Semantics
The Intangibles Syntactics
Pragmatics
Discipline
Appropriateness
Ambiguity
Design is One
Visual Power
Intellectual Elegance
Timelessness
Responsibility
Equity
8
Semantics I have always said that there are three aspects in the semantic search through a complex process,
Design that are important to me: most of which is intuitive, to infuse the design with
Semantic, Syntactic and Pragmatic. all the required cognitive inputs, effortlessly and
in the most natural way possible. It is as in music,
Let’s examine them one at the time. when we hear the final sound, without knowing
Semantics, for me, is the search of the meaning of all the processes through which the composer
whatever we have to design. has gone before reaching the final result. Design
The very first thing that I do whenever I start a without semantics is shallow and meaningless
new assignment in any form of design, graphic, but, unfortunately it is also ubiquitous, and that
product, exhibition or interior is to search for is why it is so important that young designers
the meaning of it. That may start with research train themselves to start the design process in the
on the history of the subject to better understand correct way- the only way that can most enrich
the nature of the project and to find the most their design.
appropriate direction for the development Semantics, in design, means to understand the
of a new design. subject in all its aspects; to relate the subject to
Depending on the subject the search can take the sender and the receiver in such a way that it
many directions. 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. that has no meaning: stripes and swash of color
It is extremely important for a satisfactory result splashed across pages for no reason whatsoever.
of any design to spend time on the search of the Well, they are either meaningless or incredibly
accurate and essential meanings, investigate vulgar or criminal when done on purpose.
their complexities, learn about their ambiguities, Unfortunately, there are designers and marketing
understand the context of use to better define the people who intentionally look down on the
parameters within which we will have to operate. consumer with the notion that vulgarity has
In addition to that it is useful to follow our a definite appeal to the masses, and therefore
intuition and our diagnostic ability to funnel the they supply the market with a continuos flow of
research and arrive to a rather conscious definition crude and vulgar design. I consider this action
of the problem at hand. criminal since it is producing visual pollution that
Semantics are what will provide the real bases is degrading our environment just like all other
for a correct inception of projects, regardless of types of pollution. Not all forms of vernacular
what they may be. Semantics eventually become communication are necessarily vulgar, although
an essential part of the designer’s being, a crucial very often that is the case. 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. purposely ignores and bypasses any form of
Semantics will also indicate the most appropriate established culture. 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. honest forms of vernacular communication as
10 However, it is important to distill the essence of once existed in the pre-industrial world.
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Pragmatics Whatever we do, if not understood, fails to
communicate and is wasted effort.
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!
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Discipline The attention to details requires discipline.
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.
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Appropriateness The notion of appropriateness is consequent to
what I have expressed. 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.
During the post-modern time, the verb “to be
appropriate” assumed the meaning of borrowing
something and transforming it by placing it in
a different context. We could say that this kind
of “appropriation” when appropriate, could be
done - just another way of solving a problem or
expressing creativity.
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