Jan Conradi letters, words, and text. He raises questions but doesn’t always provide answers. He expects his readers to make Typography: Formation and Transformation by Willi Kunz connections and discover possibilities that resonate, (Verlag Niggli AG, Zurich, 2003), ISBN 3721204956, sometimes with just a single example as a guidepost. 160 pages, illustrated, $56.00, hardcover. Where is formation? Where transformation? Kunz (Available in the US from Willi Kunz Books.) encourages us to distill typography to its essence then to build, shift, and layer, forming abstract symbols that Too many design volumes on bookstore shelves seem transform into logical communication. Exercises on the superficial and formulaic. However the formula must creative potential embedded in form and counterform work: simply gather short snippets of quotes from would be eye opening to a novice. How might a letter- currently hot professionals, combine the writing with form logically evolve into a symbol or logo? Kunz shows colorful images, then bind it all under a title promising how logical steps transform a Bodoni “a” into a symbol quick and easy answers to various design shortcomings. alluding to a sunlit pathway. Examples of posters, publi- These books offer plenty to look at (or mimic) and a few cations and experimental studies help clarify ideas for Downloaded from http://direct.mit.edu/desi/article-pdf/22/1/89/1714333/desi.2006.22.1.89.pdf by guest on 29 September 2021 gems of wit or wisdom to ponder. But then what? transforming space, proportion and composition. Final Then reach for a reference that provides depth, sub- designs are often accompanied by superimposed struc- stance and timelessness. A volume where the author’s tural diagrams to aid our understanding. Kunz wants vision and passion come together in a way that is mov- readers to analyze design, to find patterns and connec- ing, or perhaps I should say: transforming. Willi Kunz tions. He wants us to become better, more thoughtful has once again written just such a book and anyone seri- designers. ous about typography should have Typography: Form- What is the importance of rhythm? For Kunz it is a ation + Transformation as a reference. It is an inspiration critical component of design. The whole book stands as both for beginning students of typography and for exper- a testimony to this, showing how rhythm animates space ienced designers who may need a reminder of what fas- and consequently engages the reader. Kunz chooses to cinated them about typographic communication in the indicate paragraphs through an extended line rather than first place. using more traditional indentation or added line spacing. Kunz writes much as he designs, with a refresh- The result is a livelier text block, but part of the reason ingly spare and focused approach. He is not afraid to this form is effective relates to his writing. It is crisp and use language that might challenge some readers, but incisive, distilling each thought into a streamlined but he is just as likely to bluntly announce that a thought- energized expression. Form and content merge into a less approach to typographic space is “sloppy.” Kunz cohesive whole. illustrates his ideas exclusively with his own work In the concluding section Kunz illuminates his rather than showing work from a variety of designers. design process through applying topology: a concept Some might say this is limiting but couldn’t one also of diagrammatic representation commonly used in argue, as he does, that it is inspirational? Seeing how mapping. He references maps to explain topology from one designer solves problems aids understanding for a typographic standpoint saying “the diagram helps the putting principles into practice. Kunz believes creating designer to move between working with abstract rela- a body of work in a long-term relationship with a client tionships and working with the concrete details of the allows visual communication to evolve and mature. He design.” Topology adds a layer of analytical possibility also believes setting high standards is the best route to beyond the structural organization of a grid. The concept intelligent design and professional satisfaction. is valuable and is well illustrated with a series of posters By dividing content into three sections, Kunz decon- by the author, but it is one thing to interpret his work structs typography as a mixture of art and science. The and quite another for designers to integrate this method introduction acts as a manifesto of his belief in elemental into their own working process. Readers expecting design truths. It references his previous book, Typography: instant answers will likely find this concept frustrating. Macro- and Microaesthetics, reminding readers to think on Readers content with superficial solutions won’t get this both levels. While acknowledging stylistic variations as far in the book. a reality in typographic design, Kunz is not drawn into It is impossible to discuss Typography: Formation + arguments of style. He focuses instead upon key issues Transformation without mentioning its relationship with of clarity and effective communication. Kunz’ first book. The two interweave and at times over- The first section discusses fundamentals, but not by lap. Content from each elaborates upon the other. In fact repeating ubiquitous classifications and lists of letterform a discussion with the author pointed out the intentional vocabulary. The focus is upon the poetry of typographic nature of this relationship, as he believed there were form at the most basic level. Kunz encourages readers points the first book hadn’t fully addressed. Is it possible to consider possibilities inherent in structural forms of in the future they could be merged into one? Perhaps, but for now there are two.

Design Issues: Volume 22, Number 1 Winter 2006 89 Kunz says “High standards derive from a selective process that eliminates the superfluous and ordinary, leaving the essential and extraordinary.” Readers benefit from the author’s and the publisher’s insistence on qual- ity. Not only is the structure of the pages crafted with eloquence, but tactile details of paper, covers, and bind- ing rise to the same high standard. Kunz tells us a good designer shows respect for both the text and the reader. A good designer, like Willi Kunz, also shows enthusiasm and respect for design.

Transforming an A into Creating new signs a new letterform in three by cutting and shifting. steps by different means. Downloaded from http://direct.mit.edu/desi/article-pdf/22/1/89/1714333/desi.2006.22.1.89.pdf by guest on 29 September 2021 What other means What other trans- can be used to create formations of the letter A new signs? are possible? Are letterforms more How does the letter A in conducive to literal or a serif typeface transform? abstract signs?

How could each of the five sequences continue?

Transformation of letters

Thorough knowledge of form is essential to finding a visual Letters and numbers offer many possibilities for creative Letters connection between two letters. Close analysis often interpretation; with small changes, a letterform transforms reveals contact points that are not apparent by cursory into an interesting new sign. The design of a typographic examination. For example, letters with slanted and symbol starts with this type of exploration. curvilinear intersecting strokes such as A, R, or W are more inspiring and a better source for discovery and development than simple letters like O, I, and L. An ornate letterform does not necessarily yield more interest- ing forms. In experimenting with a serif typeface, new forms are obscured by sometimes fussy microaesthetic details. 32 33

90 Design Issues: Volume 22, Number 1 Winter 2006