|/ octavo 87.3 editorial — written by s.j. with input from mark holt,
hamish muir and michael burke.
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|The power of typographic communication, its ability to both inform clearly and excite visually, will often be determined by the way in which structure is employed; order is fundamental to understanding. The ability to exploit typographic structure to its full potential requires both a sense of formal spatial relationships — proportion, scale, optical balance — as well as a knowledge of the microstructure inherent in letterforms, the individual units of communication out of which any typographic design must grow. Physical structure must be analogous to semantic structure; analysis of the content of the material will suggest a suitable basis for typographic formulation. The discipline of structure, however, must not be regarded as a limitation, but as a dynamic, expressive tool, a liberating device, used to animate as well as to order. Extreme uses of structure and anti-structure are both dangerous; dogmatically imposed grids can be stultifying, and conversely a lack of order hinders communication. Between these two extremes lie infinite possibilities for typographic experimentation; appropriate order has many forms.|