Li á pouco tempo um texto escrito
por Wolfgang Weingart, designer pioneiro do pós-modernismo e professor da Kunstgewerbeschule
em Basel. How can one make swiss
typography? (Looking Closer 3) é um texto, um pouco extenso, de alguém
que conheceu (aprendeu e trabalhou) Emil Ruder e Armin Hofmann, e que reflecte
sobre os princípios da Tipografia Suíça, num discurso que mostra claramente a
sua preocupação e boa relação com os alunos. Posso afirmar mesmo que o público-alvo
é, de facto, primeiramente os estudantes, por reunir alguns dos principais
aspectos a ter em conta num projecto tipográfico, acompanhados por uma série de
breves explicações e exemplos visuais.
De seguida,
deixo os excertos mais significativos.
“What then, is to be understood by the term ‘Swiss
Typography?’ We can attempt to explain this complex concept perhaps with the
aid of these five especially typical examples:
With them, you can see that certain design principles
are very predominant. That is, certain characteristics like the type style,
design structure and gray value became immediately obvious in the trained
observer. Everything is based on the right angle, and everything is ordered
with regard to materials and the hand setting process. The essential goal is to
implicate the unprinted white space as a design factor. The criteria for this
are the two rather puritanical concepts of ‘information’ and its ‘readability’
which, in their complex meaning, are simplified. We are in agreement that
today, in spite of all the progress and knowledge in communications research,
there is no reliable definition of what is a reasonable, fair, unmanipulated message,
completely aside from the question of whether there could, or even should be
such a definition. Furthermore, it is also difficult to explain how a message
could be translated, typographically, yet remain effective.
…
This sign, or typographic word-picture, ‘breast’,
is composed of different basic signs, or letters. The relationship of the
letter to one another and to the paper, is called the ‘syntactic sign-function’
of a sign. And of course it’s clear that a sign can only function as a sign
when there is someone there to read it, which means a sign must be made in such
a way that it can be seen, read and understood. This ‘effect’ of a sign belong
in the area of ‘pragmatic sign-function’. This simple mode demonstrates a
communication process that does not function very well. The receiver of the
message ‘breast, understands a woman’s breast, which is something different
than the sender actually intended. This is a problem which we all share. Our designs
produce different effects. Our signs can acquire a meaning other than that
intended.
…
Only the printed word is reality, not that
which has been sketched or made from blind text. Only with a set and printed
word can you realize its actual length, its relationship to other words and to
the entire text, as well as to your predesignated space.
…Only here can the eyes, mind and feelings be
equally and gradually trained, and only here can on learn to deal confidently
with format, space, proportion and composition. Beyond that, these basic
exercises provide insight and knowledge into general typographic problems, and
are indispensable in the execution of concrete practical problems. Only when the
students has understood that making typography means the visual organization of
a given space with regard to a specific functional intention, will he be in a
position in the future to make independent, regardless of whether the emphasis
lies on dealing with complex practical problems or on experimental work,
obviously, I see that a bit idealistically.
…
The student should have the courage to violate
the respected laws of lead typography when it is necessary for the
effectiveness of the typographic composition. He then knows that in letterpress
almost everything can be printed, and in offset, everything.
…
They support my theory that certain graphic
modifications in typography, or lettering, can intensify the semantic quality
of typography as a means of typography as a means of communication. Conversely,
the lack of such modification in normal typography reduces the associative
semantic dimension of typography as a means of communication. The famous
Coca-Cola trademark looks different in Hebrew – but still awakens an immediate
association – because we identify certain essential characteristics of this
well-known supersign. We are all able to recognize such associations, either
consciously, or, as in the case of the less visually aware, subconsciously.
It is completely different with the
internationally known concept “Police”. Although this lettering appears on a
jeep, we would not be able to decode the Hebrew word for police if the English
word was deleted. To us, it could just well be a military jeep, the typographic
signs in the English version are then without semantic value.
…
For both myself and my students, I would say
that the fascination of typography lies in its ability to transform a silent,
unprinted piece of paper, with the aid of rigid sign, into dynamic form of
communication.
…
Occasionally, you have probably thought that
this is harmful to the readability of a text. But I think that the relatively
high stimulus of such a text is adequate compensation for low readability. What
good is readability when nothing in the text attracts one to even read it? Naturally
this attitude leads to continued attempts to break away from trusted design patterns.”
De facto, qualquer que seja o objecto
gráfico, a parte visual está sempre dependente do conteúdo que exprime. Se não
for no mínimo interessante, na maioria das vezes, as pessoas irão ignorá-lo. O conteúdo é tão importante como a forma como
é apresentado.
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