Vignelli's Cannon

Although Vignelli focuses largely upon book design within his book, some of these points can be implemented i to other areas of design. Some of these quotes have been outlined below.


'One of the most exciting elements of typography for me is the contrast of scale on a printed page. I love the play between a very large type size for headlines versus a much smaller type size for the body text, with proper white space in between. White space for me is a very important element in graphic composition. It is really the white that makes the black sing. White, in typography, is what space is in Architecture. It is the articulation of space that gives Architecture the perfect pitch. Another element is the relationship among type sizes in the same printed page. Our first rule is to stick to one or two type sizes at the most. If necessary, there are other devices such as bold, light, roman and italic to differentiate different parts of a text, but even there, stick to the minimum. Type weights can be used to great advantage when dedicated to a specific function, rather than be used for color purposes or even worse as a phonetic analogy. Some people who talk loud and tend to scream trying to persuade you, love to increase the size and weight of type to make the message louder. That is exactly what I consider intellectual vulgarity - something we try to stay away from. In a world where everybody screams, silence is noticeable. White space provides the silence. That is the essence of our typography.'


'Most of the time we use flush left. This type of alignment derives from metal composition, particularly in Linotype. Formerly it was faster to keep the alignment on the left side rather then having to kern the slug for every line. It also makes more sense since in our culture we read from left to right and it is better for the eye to go to the next line than having to cope with hyphens all the time. However, it is important to control the shape of the rugged side by shifting sometimes the text from line to line to obtain a better profile. This may be time consuming but aesthetically rewarding. We use centered for lapidary text, invitations, or any rhetorical composition where it may be more appropriate, or for the address at the bottom of a letterhead, and for business cards. Justified is used more for text books, but it is not one of our favorites because it is fundamentally contrived.'



Vignelli's 5 typefaces for legibility and style: Bodoni, Helvetica, Times Roman, Century, and Futura.