Kerning, Branding & Grids

Kerning, Branding & Grids 

Rationalism 

The grid represents the basic structure of Graphic Design, it helps organise content, provide consistency and projects a level of intellectual elegance that we like to express. Rationalising design allows us to ensure consistency and structure. It is argued this inspires more confidence than design based on intuition or personal preference. It was one of the great obsessions of the Renaissance period. E.g The Vitruvian Man is an example of this theory, Leonardo Da Vinci applied geometric grids of a circle and square to the proportions of the human body.   

Grids - Letterform Grids 

Similar to DaVinci's approach many artists and architects tried to explain the same idea. A German Renaissance printmaker theorist Albrecht Durer tried to define the perfect grid system for the construction of letters in his 1525 treatise Of the just shaping of Letters.

Albrecht Dürer Of the just shaping of Letters

In 1660 Johann Neudörfer used a geometric square grid system as the basis for the construction of his typefaces. The square provides the dimensions of the letters and  divided into ten equal parts. One part corresponds the thickness of the stroke of the letterform. 

In 1972 Olivetti in Italy developed an alphabet which was intended for the 7x9 matrix printer. With a rectangular feld of 35, 49 or 63 circles of equal size it is possible to create all the letters of the alphabet. Including the numerals 1 through to 9. 

Grids - The Golden Ratio

This ratio divides a line into two parts relating to each other approximately 1:1.618. This number is represented by the greek letter phi. It plays a significant role in geometry e.g. in the construction of pentagons and pentagrams. It has been consistently used within architecture and art & craft to establish complementary and rational proportioned shapes. When 360º is divided by the golden ratio, the golden angle is 137.5º. The pattern created by this angle is repeated throughout nature.

Luca Pacioli, De Devina Proportione (Venice, 1509) 

An Italian mathematician, colleague of Leonardo da Vinci he wrote and published the manuscript De Devina Proportione. He illustrates applying the golden ratio, including application to the design and construction of the roman alphabet.

Re-brands 

A Corporate Identity is based on an overall system approach and not just a logo. Although a logo gradually becomes recognisable within culture. After fifty years a logo can be seen as a classic, landmark or even a respectable entity. 

“Many times we have been asked to design a logo or a symbol for a Company - often at the request of the marketing department to refresh the Company’s position in the marketplace. 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.”

Vignelli's Six Basic Typefaces 

“Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.” “The computer allowed anybody to design new typefaces and that became one of the biggest visual pollution of all times.” 

“I see typography as a discipline to organize information in the most objective way possible. I do not like typography intended as an expression of the self, as a pretext for pictorial exercises. I am aware that there is room for that too, but it is not my language and I am not interested in it. I don’t believe that when you write dog the type should bark!”

- Vignelli 2015