In the pursuit of the Good and the True, we all yearn to be part of something greater than ourselves. We recognize that altering the entire cosmos through our singular efforts is not our aim, nor could it be. Instead, our deepest desire is to find our place within a grander scheme, to contribute to a unity that bestows meaning and purpose upon our lives, one that endures beyond the fleeting moments of our existence.

When we discover this purpose in our professional endeavors, as members of a collective that brings us joy and direction, we are naturally inclined to give our utmost to preserve and uphold it. Bereft of this connection, we are but isolated fragments adrift on the sea of existence.

To speak solely of a company's offerings—its products and solutions—is akin to discussing the nutritional value of food without savoring the act of eating. While such knowledge is essential, it pales in comparison to the experience of a fine meal, chosen for the delight it brings, for the ambiance of the place, and the warmth of the service. It is the holistic experience that ultimately renders us content or discontent.

Likewise, companies that deal in technical products or solutions must consider the entirety of the experience they provide. Their customers should feel the care and thoughtfulness that go beyond mere functionality. To foster happy, purpose-driven employees, it is insufficient to hand them a brand manual to follow.

They must feel, in the very core of their being, that they are part of something significant, something that holds an essential role in the greater fabric of society and the world.

A brand agency can assist in nurturing this spirit, acting as a midwife in the rebranding process, helping to give form to a company's soul through visual identity and guiding its early steps.

However, it is the company itself that must breathe life into this soul, embedding it into every facet of its operations and culture. When this soul resonates through the entire organization, it becomes tangible to the customers, reflecting sincerity and commitment that extend far beyond mere marketing tactics.

There will always be those who operate with short-term motives, feigning concern while seeking only personal gain. These individuals, pitiable in their ignorance, fail to grasp that no amount of wealth can purchase true meaning. By focusing solely on their own benefit, they isolate themselves from the unity they initially sought, becoming the very insignificant individuals they wished to escape.

A life devoid of meaning, lived in isolation, is an unhappy existence. We should pity those who reside in such a sphere, irrespective of their material wealth. Money, in itself, is neutral; its value depends on the intentions and purposes of its possessor. The fundamental question is whether one works for the betterment of society and the world, thereby participating in a greater unity, or sees oneself as a solitary ruler atop a desolate peak.

In the end, the true fulfillment lies not in the accumulation of wealth, but in being part of a unified endeavor that yields positive contributions to society and the world. Only through this unity can we find lasting joy and purpose.

In my quest for the eternal and enduring, I find myself immersed in the ancient mathematical proportion known as the golden ratio. Its significance and adoption within architecture are widely known, and the fascination for its beauty can be traced among masters throughout the ages, from Le Corbusier to ancient architects like Phidias, whose initials have given the golden ratio its symbol (PHI).

‍

The utilization of the golden ratio (ϕ) is already evident within the realm of typography. Even the dimensions of our standard pocket book (British paperback size A), measuring 110 × 178 mm, adhere to this proportion. Yet, what captivates my attention most is the endeavor to comprehend the underlying rationale: why? Frequently, during my lectures, I am confronted with this inquiry: why does the golden ratio hold such sway? It is conceivable that its proportions awaken within us a subjective recognition of nature's creative impulse. Perhaps we can perceive visual proportions as a pursuit of harmony for the eye, akin to how musical harmonies resonate with the ear when arranged in meticulous mathematical order.

‍

Is it that we recognize ourselves in these proportions, whether they appear to our eyes or ears, and that they remind us of our own pursuit of harmonious unity between opposites? This is something we experience rather than rationally explain.

‍

Could it be that the golden ratio possesses another, more practical application that has carried it through history, akin to a mythical tale bearing witness to something concrete yet shrouded in the veil of myth? If so, this would elucidate its mystique and pervasive presence in numerous writings and expressions. Consider, for instance, how one might derive a close approximation of our current value of π from its proportion. If such knowledge was available to the ancients, the golden ratio could have served not only as an aesthetic principle but also as a practical tool for determining proportions and measurements.‍‍

‍‍The geometry of the Great Pyramid of Giza reveals a fascinating relationship with both the Golden Section and the value of π. The perimeter of a square with sides equal to the pyramid's base length is almost identical to the circumference of a circle with a radius equal to the pyramid's height, demonstrating an impressive 99.96% accuracy. This highlights the extraordinary mathematical precision in the pyramid's design. Additionally, the pyramid's proportions closely align with the Golden Section, achieving a staggering 99.9% correlation.

‍

To translate this precision into practical terms, consider the use of the royal cubit as a measuring unit in the construction of the Great Pyramid. The royal cubit is divided into 7 palms, each palm further subdivided into 4 fingers. If the pyramid were constructed using the Golden Section as a guide, its base would measure 440.24 cubits. This differs from the estimated original base length of 440 cubits by only 0.24 cubits, or roughly 7 fingers.

‍

But it is not solely the irrational proportion of the golden section that has drawn our fascination throughout the ages. Other rational proportions, such as 5:8 (a Fibonacci number), 2:3, 4:3, and 3:5, have been employed since ancient times and continue to find practical application in book design and typography. The proportion 5:8 (1:1.6) bears a close relationship to the golden section (1:1.618...) while offering the advantage of being a rational number, thus allowing division into a square grid—a technique frequently utilized by Swiss and German designers in the 1950s. This ratio also corresponds to the Minor Sixth in musical tuning. It is similarly manifested perfectly in the Menkaure Pyramid, where the base correlates with the height of the pyramid in a 1.6 ratio.

‍

The proportions 2:3, known as the Perfect Fifth in music, and 3:4, known as the Perfect Fourth, were esteemed by the Pythagoreans as perfect. These ratios, like siblings, naturally complement each other in book design: choosing one as the book's format leads the other to naturally follow for the spread. The ratio 4:3, together with 4:5, was the predominant paper format before the twentieth century, favored for the size of the deckle frame in forming of handmade paper. A sheet with a 4:3 proportion, when folded once, becomes a "folio" with a 2:3 proportion. When folded twice, it becomes a "quarto" with a 3:4 proportion, and thrice, it becomes an "octavo" (akin to our pocket books) with a 2:3 proportion. Starting with a sheet of 5:4 proportion results in a folio with a 5:8 proportion, making 5:8 and 5:4 proportions akin to siblings in the context of book design. The ratios 2:3 and 3:4 are also perfectly illustrated in the Chephren Pyramid in Giza. The 2:3 ratio can be observed in the relationship between the pyramid's height and its base, while the 3:4 ratio is evident in the slope of the pyramid’s sides, forming a perfect 3:4:5 triangle.

‍

This geometric principle has significant implications beyond simple mathematics. The 3:4:5 triangle is a cornerstone of ancient construction techniques, used to ensure right angles in building foundations. Its presence in the design of the Chephren Pyramid in Giza illustrates the Egyptians' sophisticated understanding of geometry, enabling them to achieve precise and enduring architectural forms.

‍

Additionally, the proportion 3:5 (1:1.666...) is prevalent in book design, particularly for smaller books, due to its tall and elegant form fitting well in the human hand. This proportion traces back to antiquity and is even referenced in sacred texts such as the Bible, where Moses is instructed to construct the Ark of the Covenant with dimensions in the proportion 2.5:1.5:1.5, essentially a 5:3:3 proportion. 

‍

These proportions reflect an enduring harmony, resonating through the fabric of our aesthetic and practical pursuits, demonstrating how these ancient principles continue to influence modern design and architecture.‍‍

‍

In the realm of attraction to objects or situations, there exists a mysterious allure, an ineffable pull that captivates our senses. When we bestow the label of "beautiful" upon something, we are attempting to articulate a profound experience, one that stirs within us a delicate harmony of tranquility and elation. Yet, this proclamation merely scratches the surface, for it is the intangible essence that ignites within us, compelling us to seek out more of such beauty.

‍

In our artistic endeavors, particularly in the meticulous craft of typography, our pursuit is twofold: to establish order and to evoke beauty. The arrangement of letters must transcend mere functionality, resonating with the creator and, ideally, resonating with the observer, though such resonance lies beyond our dominion. Should our creation lack the essence of beauty, it becomes akin to lifeless stone, fulfilling its purpose mechanically but failing to enrapture with its hypnotic allure, leaving an unspoken yearning for beauty unquenched.

‍

Are objects deemed beautiful because they serve as integral components within a grander composition, harmonizing in symmetrical or asymmetrical unity? Consider the mesmerizing spiral of the golden section, where each element seamlessly aligns within its square progression. Yet, could it be that true beauty arises from the synergy of diversity within unity, rendering falsehood imperceptible amidst its singular tone? Within us resides an innate capacity to perceive beauty, whether visually, audibly, or tactilely. In moments of sensory immersion, such as when we surrender to the enchanting melodies of Mozart or Bach, our consciousness surrenders to the mathematical perfection of their compositions, transcending thought to bask in pure sensation.

‍

In his seminal work "On Beauty" within the Enneads, Plotinus delved deeply into the enigmatic realm of beauty, urging us not to linger merely at the surface allure, but to embark on a profound quest to unravel its essence and origin.

‍

As we encounter beauty, we are stirred by what Plotinus termed an "Impulse," igniting within us a fervent longing for its recurrence. Yet, he cautions against complacency, urging us to transcend the immediacy of sensation and peer into the depths of its source—a manifestation of the eternal and intelligent.

‍

In our encounters with beauty, we may find ourselves awash in a wave of recognition, akin to reuniting with a long-lost friend, for beauty serves as a mirror reflecting the essence of our soul. Whether it be the serene embrace of nature's harmony or the disquietude of discord, our souls resonate with the balance and order intrinsic to beauty, recoiling from chaos and disorder.

‍

Through perpetual impulses, the soul begins to stir from its slumber, recalling its heritage of harmony and embracing its identity as beauty, an eternal facet of the cosmic tapestry. This awakening engenders a transformative knowledge—an unveiling of the soul's true essence and eternal state of being. In this recognition, the soul transcends mere existence, learning to dwell in harmony with the eternal beauty that permeates the fabric of existence itself.‍‍

‍

‍

In the realm of visual communication, elements like color, typeface, proportions, and graphics are akin to the instruments in an orchestra, with the designer serving as both composer and conductor. The aim is to orchestrate these elements into a harmonious symphony, where each component performs its role flawlessly, conveying a message that is both meaningful and aesthetically pleasing. As designers, we must deeply appreciate each element, much like a musician treasures each instrument, to harness its inherent beauty to its fullest capacity. This realization underscores the importance of a binding force—without a calming rhythm, all the elements would drift like fragments in space.

‍

It's challenging for a composer to understand how all the tones blend together and create a harmonious unity without playing the piano. Few instruments like the piano train the mind to connect different tones through rhythm, volume, speed, and pause, creating a unified auditory piece. For a graphic designer, the art of typography and layout, encompassing geometry, is similarly fundamental. This practice trains the mind to perceive visual rhythm and proportions. Through constant training, designers develop a sixth sense for "feeling" the rhythm and tones in design, enabling them to create harmonious designs spontaneously.

‍

In our quest to manifest and experience beauty, we are called to delve deeply into the well of our being, discerning the source of our longing and our mission. Consider what this profession would be without beauty: it would become purely mechanical, devoid of soul. As a designer in the 21st century, you have chosen this path and, hopefully, committed yourself to its pursuit, fulfilling your duty as a craftsman.

‍

No longer can you claim to have been forced into this profession; such circumstances are rare in a world where creative work is often undervalued and underpaid. You have chosen this vocation, and thus it is your mission to master this craft. Your duty is to create designs that harmonize proportions and functionality, speaking to both the rational and emotional aspects of humanity. 

‍

Therefore, let us dive deep within ourselves, aligning our inner order so that we can perceive and communicate the unfolding story within our being.

What is the essence of creativity? How do we nurture it without succumbing to the weight of conditioning? Can we truly "become" creative, or do we risk losing it in the pursuit of becoming?

Creative work often seems at odds with logical thinking, shrouded in a veil of elusiveness. Yet, true creativity transcends mere profession; it's an innate ability to perceive solutions where others see none. It's about understanding the creative process, from abstract idea to tangible existence, irrespective of the medium.

‍

In the realm of creative work, there often exists a sense of ambiguity regarding strategy and logical thinking. There's a pervasive fear that applying logic might stifle creativity. However, this notion stems from a misunderstanding of creativity itself and how we approach problem-solving. A truly creative individual possesses the ability to unearth solutions that elude others. While they may excel in specific mediums like painting or photography, their true prowess lies in their capacity to discern what needs to be expressed or accomplished, irrespective of the medium, and then bring it to fruition. They are propelled by an innate desire to create, from abstract conception to tangible reality. Thus, understanding the essence of the creative process is paramount.

Can creativity be nurtured through training, or is it an innate talent? If creativity were solely an innate talent impervious to training, then the premise of this discourse would be rendered obsolete. Let us, therefore, operate under the assumption that creativity can indeed be cultivated

In a world filled with uncertainty, where tomorrow is as enigmatic as yesterday, we often seek stability and security by meticulously planning our futures and setting goals to strive for. While roadmaps are undeniably valuable for navigating our journeys—whether physical or mental—it's easy to become so fixated on the destination that we overlook the beauty of the journey itself. We miss out on the unexpected detours that can bring joy and a profound sense of being present. These unanticipated paths offer opportunities for discovery and growth, leading us to places we never imagined.

‍

However, the challenge lies in recognizing these side tracks amidst our fixation on the end goal. Our minds tend to filter out these distractions, deeming them inconsequential in the grand scheme of our plans. Yet, in doing so, we forfeit the spontaneity and vibrancy of life itself. For life exists not in the speculative future or the historical past, but in the ever-flowing river of the present moment—a reality that eludes our attempts to capture and control it.

‍

This realization prompts a shift in perspective. We can continue to plan and anticipate, thereby sacrificing the richness of life for a false sense of security. Or, we can choose to immerse ourselves fully in the river of existence, embracing its uncertainties and relinquishing our attachments to past and future. This requires courage—to abandon the familiar comforts of predictability and embrace the unknown.

‍

Creativity, in its truest form, flourishes in this space of uncertainty. It thrives on insecurity, defying the constraints of past experience and future projections. True creative expression transcends the limitations of time and taps into something timeless and profound. While conventional creativity may rearrange existing building blocks, true creativity ventures into uncharted territory, capturing the essence of life itself.

For more than a decade, I held the pivotal role of overseeing typographic education at several prestigious design schools in Sweden. Throughout this tenure, I diligently crafted a comprehensive typography curriculum, spanning three distinct levels (simply called Typography 1, 2 and 3), which I consistently implemented across all my courses.

‍

In Typography 1, we delved into the realm of classic typography, exploring the Symmetric style. From the inception of printing to the close of the 19th century, students traversed through the annals of typographic history. Each student was tasked with producing a book adhering to the principles of classic typography, serving as their apprentice test.

‍

Typography 2 embarked upon a journey from the late 19th century to the mid-20th century. We gradually unraveled the technical and cultural shifts that defined this era, witnessing the evolution of typographic style into the asymmetric, modern form. Culminating in the creation of a book mirroring the principles of this new typographic style, students demonstrated mastery over the fundamentals of asymmetric typography.

‍

Throughout these courses, students grappled with the challenge of reconciling their individual preferences and proclaimed "style" with the structured directives laid before them. Embracing a prescribed style often prompts internal conflicts, crucial for designers to navigate. These conflicts serve as catalysts for self-discovery, guiding individuals to discern their true identity and creative aspirations. Neglecting this internal struggle risks the creation of designs devoid of personal authenticity.

‍

While some may perceive these reflections as philosophical musings detached from practical reality, for those immersed in the creative realm, they are indispensable. Understanding the intricacies of creativity and the psyche is paramount, as it is only through this process of untangling conditioned "ego" from innate creativity that true artistic expression can flourish.

Understanding the intricacies of creativity and the psyche is paramount, as it is only through this process of untangling conditioned "ego" from innate creativity that true artistic expression can flourish.

My final course, Typography 3, shifted its focus towards the individual designer and their unique design expression. Unlike previous courses, the objective was to craft a book that truly reflected the essence of each participant. However, unlike before, there were no rigid rules defining what constituted a "book." The only criterion was a collective agreement among classmates that the creation embodied the essence of a "book," whatever that definition might entail.

‍

How does one encapsulate their essence within the pages of a book? Who truly are you? The introductory lesson served as a profound journey of self-discovery, prompting students to construct a mind map centered around themselves, denoted simply by the word "Me" encircled at the core. From this central point, they extended lines outward, representing their various hobbies, interests, and roles in life—whether it be football, cooking, design, parenthood, or any other pursuit.

‍

Yet, as they pondered further, a fundamental question emerged: "Who am I?" Are you synonymous with your hobbies or roles? No, of course not. "I" merely engages in those activities. Thus, who is this elusive "I" behind the actions and roles assumed?

‍

Breaking down the central "Me" circle into four smaller segments, we embarked on a quest to delineate the tangible aspects of self that could be examined and tested, distinct from the nebulous realm of the unknowable. 

‍

Firstly, we explored the realm of thoughts—incessantly occurring, but separate from the core self. Can you truly be your thoughts if you possess the agency to control or halt them?

‍

Next, we delved into the realm of emotions. Are you your feelings? How can you exert control over emotions like anger or cultivate feelings of joy if you are wholly identified with them?

‍

Then, we contemplated the physical vessel housing our existence—the body—sensitive to sensations perceived through the five senses. Yet, is the body the entirety of our being? Is there not a deeper consciousness untouched by the ravages of time?

‍

Lastly, we considered the realm of memory and the subconscious—a repository of experiences that shapes our responses and behaviors. This subconscious programming operates autonomously, independent of our conscious control.

‍

From this exploration, students embarked on a journey to unravel the layers of conditioned responses, thoughts, and feelings, in search of the elusive essence of self beyond the superficial constructs of identity. Without offering definitive answers, they embarked on a quest to comprehend the essence of the "self" that transcends these layers of conditioning, thoughts, and emotions.

‍

To penetrate the haze of our conditioned selves, we must hone our senses and pay attention to subtleties that we might typically overlook.

To penetrate the haze of our conditioned selves, we must hone our senses and pay attention to subtleties that we might typically overlook.

It's akin to peering through water on a sunny day when reflections dance upon the surface. There's a significant challenge in discerning what lies beneath the shimmering veil, but with perseverance and patience, our eyes gradually adjust to the glimmers, allowing us to see beyond the surface and witness what lies beneath.

‍

The outcome never failed to astonish and enlighten all who bore witness to it. Each student unearthed unique facets of their essence, mastering the art of conveying these truths to the class with utmost potency. It stood as one of my most impactful courses, cherished by both students and myself alike.

Delving into the essence of our being unveils a profound revelation: the intricate dance between thought, memory, and perception shapes our reality. Our thoughts, born from the vast expanse of the mind, weave together fleeting glimpses into an illusory framework that grants us a semblance of security and consistency. Yet, these constructs are but ephemeral edifices, suspended in the void of space, embellished by sensory inputs and emotions until they eclipse reality itself in their perceived solidity.

‍

To liberate ourselves from the confines of these illusory structures and embrace the fullness of life, we must embark on a journey of understanding. There exists no separate "self" in need of transformation; the ego, a mere construct of past impressions etched into memory, holds no dominion over our true essence. To dismantle these mental constructs, we must first recognize them for what they are—illusory apparitions that obscure the boundless expanse of our being.

‍

In the realm of pure existence, devoid of the dualities spawned by thought, every action emerges as a manifestation of the present moment, unencumbered by past or future. The dichotomy of "nice" and "not nice" dissolves into insignificance, replaced by the simple purity of being. Order arises naturally in the absence of thought, as the mind relinquishes its role as the harbinger of conflict and disorder.

‍

Though our minds may merge with the river of life, our bodies remain tethered to the demands of time and routine. Yet, as we awaken to life's uncertainties and shed the illusions of self, we unlock a newfound vitality—an energy that was once trapped in the confines of ego. Creative work thus becomes a celebration of life—an expression of freedom from the shackles of identity and a testament to the boundless potential of existence.

Contemplating the eternal, we eschew the realm of abstract thought and metaphysical constructs, seeking instead the palpable presence of the unmanifested. Within the timeless now, devoid of past or future, lies the essence of existence—an ineffable truth beyond the grasp of conceptualization.

‍

Embracing the present moment, we confront a fundamental choice: to drift in the currents of daydreams or to immerse ourselves fully in the richness of experience. In this interconnected tapestry of life, the rational mind advocates survival above all else, while the soul whispers of a deeper truth—the significance of how we live, rather than the mere fact of survival.

‍

Amidst the ceaseless interplay of rationality and soulfulness, we find solace in the realization that a life imbued with meaning transcends mere longevity.

Whether brief or enduring, a life lived authentically, in alignment with the soul's calling, resonates with profound significance—a testament to the transformative power of meaningful existence.

Typography, in its myriad forms, holds a profound sway over our collective consciousness. For some, it evokes visions of typefaces and their intricate families of serifs and sans-serifs. Others perceive it as a nuanced art form, wherein the strategic arrangement of typefaces yields potent visual narratives. Yet, regardless of perspective, one fact remains undeniable: the realm of typography is more vibrant and dynamic today than ever before, permeating all facets of visual communication. As I embark on my journey to become a visual artist—a term that now supersedes the confines of the traditional "graphic designer" label—I am compelled to ponder: what areas demand our focus in this ever-evolving landscape?

‍

Technological advancements have undeniably revolutionized the field since the dawn of the twentieth century. But have these changes fundamentally altered the essence of typography? To navigate this question effectively, it behooves us to delineate between two distinct yet interrelated realms: the fundamentals and the expression of typography.

‍

In delving into the fundamentals, we unearth a treasure trove of historical knowledge and empirical experimentation. Through the lens of legibility and human cognition, we gain insights into the intricate mechanisms governing message reception in the brain. While we may possess a comprehensive understanding of these fundamentals, we must remain cognizant of the ever-evolving nature of media consumption habits and societal contexts. The essence of typography lies in its adaptability—its ability to seamlessly morph and cater to the dictates of an ever-shifting zeitgeist.

‍

The realm of layout and composition, however, presents a more nuanced challenge. Herein lies the crux of the art: the synthesis of disparate elements to forge a harmonious whole. Like a master chef orchestrating a symphony of flavors, the visual artist must deftly balance images, colors, logos, and typefaces to concoct a compelling composition. Yet, mastery in this domain transcends mere technical proficiency—it demands an acute perceptual acumen honed through countless hours of practice. Much like a chef discerns the subtleties of each ingredient, so too must the visual artist cultivate an intuitive grasp of form and balance.

‍

Expression in typography mirrors the diverse tapestry of culinary traditions, each bearing its own distinct flavor profile. Some practitioners specialize in a singular aesthetic, delving deep into its nuances to craft singularly resonant experiences. Others embrace the ethos of fusion, amalgamating disparate influences to forge bold new frontiers. Both approaches—whether rooted in minimalism or eclecticism—are vital for the continued evolution of the craft.

‍

As we navigate this labyrinthine terrain, it's worth pondering the prophetic words of Edward Bulwer-Lytton:

“The pen is mightier than the sword.”

Yet, in an era saturated with information and sensory stimuli, perhaps a modern update is warranted. Today, the true power lies not merely in the written word, but in the creation of immersive experiences that stir the soul. In a world besieged by relentless digital bombardment, those who craft experiences capable of resonating on a visceral level wield unparalleled influence. Thus, we herald a new maxim:

Interactive experiences, designed to engage our senses, transcend the might of both pen and sword combined.

In this paradigm, the visual artist emerges as a vanguard of experiential storytelling, harnessing the full spectrum of sensory stimuli to craft narratives that transcend the confines of traditional communication. As we chart a course into this brave new world, let us remain steadfast in our commitment to innovation and adaptation, for it is through such endeavors that the art of typography will continue to flourish and thrive.

‍

There seems to be different groups of so called practitioners of typography or design. You have the academics, that due to their lack of competence in design execution, put their faith in critical assumptions. They believe that their iron tower of authority is unquestionably and protects their ego. But it is not a shelter, rather a prison, visible to everyone else than themselves. You have the humble craftsmen that doesn’t want to talk about their work, they just want to execute it in private. Don´t forget the young bolsters that boost about their ability to change the future of design. And of course the middle aged designer, like myself, that have enough experience from working with design to be able to get a holistic experience but also so conditioned by what works that a true and fresh perspective is almost impossible. What should or can we do? The main issue nowadays seems to relate to motivation and commitment. Inspiration received a mouse click away cannot be compared to the physical sources miles away. It´s similar to food, where fast food and quality home made food both fill our stomach, but the experience is very different. I am afraid young designers don´t see the difference anymore. They eat themselves full of inspiration daily but cannot find any nourishment for the soul. They become empty and seek for the creative light, not in turmoil and hard work, but in gain and achievements.
‍
Maybe we could give you a price for your ambition? Would that motivate you? It wasn’t a piece of steel that motivated Stanley Morison to take up this profession, no it was meeting Francis Meynell that changed his life path. It wasn´t gain and fortune that motivated printer Antoine Augereau to continue printing, in spite of horrible consequences that the stake presented, it was his devotion to the craft and what it represented. It wasn´t a ridiculous piece of metal that motivated Aicher or Bill. No it was rather the opposite. It was the war.
‍
Technical, financial and cultural advancements – merged with individual determination – form our craft and prove that adaptation and resilience should be part of a typographers virtues.

Where gain and money is corporeal and elusive – Legacy is timeless.

The typographer has played different roles during the centuries and sometimes the humble craftsman was also a revolutionary, a groundbreaker, a specialist, a technician and of course a designer. Certain roles was more important than others when pushing the craft forward and adopting to environmental changes. Knowing your surroundings and planning your journey is something that should be commended when initiating an undertaking. So lets therefore draw our bow back a hundred years so that we can release ourselves in to our future with strength, precision and determination.

‍

Typography is commonly thought of today as the art of working with typefaces and the correct use of such. The skill of translating a text from unreadable to readable and understanding the rules of legibility are all part of the daily work of a typographer or a graphic designer. Stanley Morison defines the art in his text First Principles of Typography:

“Typography may be defined as the craft of rightly disposing printing material in accordance with specific purpose; of so arranging the letters, distributing the space and controlling the type as to aid to the maximum the reader´s comprehension of the text. Typography is the efficient means to an essentially utilitarian and only accidentally aesthetic end, for the enjoyment of patterns is rarely the reader´s chief aim. Therefore, any disposition of printing material which, whatever the intention, has the effect of coming between author and reader is wrong”

Morison, Stanley. First Principles of Typography, The Fleuron, No. 7, p. 61.Cambridge University Press, 1930.

‍

The selfless designer working towards the perfection of his craft for the joy of countless souls without recognition, keeping his anonymity, is an idea that have been imparted through centuries of practicing typographers. Or as Beatrice Warde explains it at the end of her text the Crystal Goblet:

“Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind.”

Warde, Beatrice. Crystal Goblet, 1955.

The modern, or asymmetric typography that emerged during the 1940s also embraced the selfless designer and strongly opposed the ‘decorative’ as they called it. But through new technology, that made it easier to combine photography and text, a new layout system, build to cater the needs for a new era in typography and printing, emerged. In theory, the old symmetric (Axial) typography wasn't opposed the new ‘modern’ asymmetric. It was in It´s practical execution that their paths diverged.

“Now the man who first chose glass instead of clay or metal to hold his wine was a ‘modernist’ in the sense in which I am going to use that term. That is, the first thing he asked of his particular object was not ‘How should it look?’ but ‘What must it do?’ and to that extent all good typography is modernist.”

Warde, Beatrice. Crystal Goblet, 1955.

Typography and design should always evolve in collaboration with function and usability. Using context, technology and function as practical means of expression – typography evolves over the ages. In this sense, the asymmetrical typography was a natural development.

By forging the idea of a selfless typographer working for humanity – with that of the anonymous engineer striving constantly for knew and better ways of solving his/her design problems – a new designer was born.

“Any thesis that gets nailed to the wall carries an inherent risk of becoming ossified and one day being an obstacle to evolution. It is, however, not very likely that the so-called asymmetrical or organically formed typographical pattern will be more speedily overtaken by developments than was the axial layout, which is preponderantly a response to decorative rather than functional considerations. Happily, we have freed ourselves from the renaissance formula and, far from wanting to go back to it, we want to exploit our freedom to the full”

Max Bill on typography, in Schweizer Graphische Mitteilungen, 4, 1946. (in Ulm Design, The Morality of Objects, edit: Herbert Lindinger, The MIT Press Cambridge, Massachusetts, 1991. p 130)

At the beginning of the 1950s Max Bill believed that art was the highest means of expression. It is vary notable in his first public statement as the director of the new school of design at Ulm, the Hochschule für Gestaltung (HfG):

“The founders of the Ulm School believe art to be the highest expression of human life and their aim is therefore to help in turning life into a work of art”

Ulm Design, The Morality of Objects, edit: Herbert Lindinger, p. 132 (The MITPress Cambridge, Massachusetts, 1991. p 130).

Bill saw HfG Ulm as a continuation of the Dessau Bauhaus, even the title Hochschule für Gestaltung derives from Dessau Bauhau. But it was precisely this conviction, that Art was the highest means of expression, that caused the conflict at the school with Otl Aicher and Thomas Maldonado. Aicher and Maldonado did not see the future in the fundamentally craft-based Bauhaus tradition but instead desired a better collaboration with industry and science. Art as a higher means of expression was not something that Aicher was found of. It's evident in the quotes below that Aicher was more interested in the role that design could play in society and industry.

“We where interested in the shaping, the gestaltung, of everyday life and the human environment: we were interested in the products of industry and the attitudes of society.”

Ulm Design, The Morality of Objects, edit: Herbert Lindinger, p. 124 (The MITPress Cambridge, Massachusetts, 1991)

“At that time in ulm we had to go back to the matter in hand, to things, to products, to the street, to the everyday, to people. We had to turn around. It was not for example a question of extending art to the everyday, to application. It was a matter of counter-art, civilization work, civilization culture”

Otl Aicher, The World as Design, p 87.

Max Bill might have gone in another direction at HfG Ulm but before that time he seemed to be perfectly aligned with Aichers view of design as a purposeful pursuit for maximum functionality.

‍

“Suddenly I saw through the trees a shining structure, as slender and as strong as a giant greyhound: the Rossgraben Bridge, an astounding structure of colossal power and a few hundred meters further in the middle of a wooden valley, hovers the Schwandbach Bridge. Yes, it hovers; it is as light as of paper and seemingly links one side of the valley with the other without any effort”

Max Bill, Robert Maillart, 1949 p. 33.

This is Max Bills own words when during the second world war he visits Rossgraben and Schwandbach bridge designed by the Swiss engineer Robert Maillart. Bills fascination is clear. For several years he collects information regarding Maillart and in 1949 his book about the engineer is finally finished. Bill understands the importance of Maillarts contribution to design process and can see the value of an analytical method combined with an aesthetic principle. This symbios is manifested in Maillarts bridges and Bills desire to bring this closer to his own discipline is evident in further quotes.

“…Maillart´s constructions can be judged by the same standards as any work of art and that they appeal in the same way to our imagination… Is it not strange, that two leading men of the same generation: the constructor and the painter, Robert Maillart and Piet Mondrian, are so closely related. During the same years one developed a new system of structure, the other a new manner of painting… In both cases economy of means and idea unite in the highest aesthetic formulation”

Max Bill, Robert Maillart, 1949 p. 33.

Maillart projects where often met with doubt and pessimism and often the bridges were never built at all. His motivation didn't come from praise or achievements but from an serious commitment to the craft which demanded from him optimization through technology and functionality.
Bill argues that it is no coincidence that we find his bridges in remote areas:

“…Maillart´s bridges were erected in places that are not easily accessible, in lonely mountain valleys where little money was available and where aesthetics were thought to be unimportant. We can see here that the compelling economy resulted to the favor of aesthetics and that it was the greatest economy which brought about the most praiseworthy artistic solution.”

Max Bill, Robert Maillart, 1949 p. 34.

It seems Bill used the mentality of the engineer, that fascinated him, as a creative means of expression. Formulating his design theory through economy and pure functionality but the narrative, behind the design, was always an artistic one built one a spiritual quest of pure form and pure plastic expression.

“This curving concrete bridge is a technical masterpiece. A minimum of material is embodied in its graceful ribbed arch.”

Max Bill, Form, 1952, p 127.

“Designers who realize new forms are consciously or unconsciously reacting to trends in contemporary art because it is in art that the intellectual and spiritual currents of every epoch find their visible expression.”

Max Bill, Form, 1952, p 11.

Similar to humble craftsmen that find their life path in the work itself and not in a narcissistic search for external praise – Aicher enjoyed the anonymity. He also shared Bills admiration for the engineer but where Bill saw art and aesthetics as the highest form of expression, Aicher continued the path of the engineer and implemented it's ideas of economy and function into the design education.

“Art is not suitable for purpose-directed design work. It only gets in the way.”

Otl Aicher, The World as Design, p 23.

“I was creating for the street what others were creating for the museum... while others were looking for a name and presenting themselves in the market place of appearances, I was happy to be anonymous. Craftsmen, constructors and engineers do not sign”

Otl Aicher, The World as Design, p 88.

At HfG Ulm, the conflict between Aicher and Bill could not be resolved and Max Bill left the school in 1957 after only three years as its Rector.
After Bills departure things change at Ulm. A shift towards science and industry was implemented. When the first issue of the schools own quarterly journal, Ulm 1, was published we can clearly see a shift of approach:

“The Hochschule für Gestaltung educates specialists for two different tasks of our technical civilization: the design of industrial products; the design of visual and verbal means of communication… The school thus educates designers for the production and consumer goods industries as well as for present-day means of communication: press, films, broadcasting, television, and advertising.”

Ulm Design, The Morality of Objects, edit: Herbert Lindinger, p. 133 (The MITPress Cambridge, Massachusetts, 1991)

These quotes clearly shows that art was not the main focus of the design work of the new Ulm in 1958 but instead a variety of medias would be learned and practiced. A holistic approach of design that cleared the way for the new graphic designer as a communicator, skilled in a vast amount of areas.

‍
The M 125 furnishing system by Hans Gugelot from 1957; the Hi-fi component system by Herbert Lindinger for Braun AG (Diploma work under Gugelot, 1958 (Came in production in 1962 as Braun audi 1 and 2); the Corporate identity for Lufthansa produced by Otl Aicher, with support by students Hans Nick Roericht (product designer), Tomàs Gonda (graphic designer) and typography tutor Fritz Querngässer in association with Hans G. Conrad (1962–63) even the small delivery truck, still seen in Zürich selling fruit and vegetables at the train stations (was developed by the second year students Kerstin Bartlmae, Peter Kövari, Michael Penck 1963–64) all show a inclination towards the idea that function should follow aesthetics and they should blend together in harmony, not one stronger than the other.

‍
In Ulm they had years after Bill when Science took a predominant role and aesthetics where forced in to the background (1958–62). This wasn't healthy either and therefore a new phase was developed during 1962–66 where balance was to be restored between science and design. Unfourtanetly this period would only last up to November 1968 when the Landstag votes to close the HfG.

‍
But the ideas are well echoed in the years to come. Otl Aichers work with OS in Münich 1972 are widely known but also designers in Switzerland like Karl Gerstner show an affirmation of the methods developed in Ulm. In his book Designing Programmes from 1964 a variety of methods are presented on how to work with a more systematic approach to design. Under the title ”Programme as Logic” he presents a diagram called the morphological box of the typogram, that can be used to solve almost any design problem. He shows how logotypes like Intermöbel and National Zeitung could be created by using the diagram. He says:

“The inadequacy of this box is my own and not inherent in the method. Even so: it contains thousands of solutions which – as could be shown by checking an example — are arrived at by the blind concatenation of components. It is a kind of designing automatic.”

Karl, Gerstner. Designing Programmes, Alec Tiranti Ltd, London 1964, p. 9.

This view of finding a systematic approach of solving design problems would become a strong influence on the future to come. It is as valid to day as ever when the range of media has increased immensely and the production time has decreased in the same rate, systems has to be invented for the designer to continue his/her work in a creative and functional way. A balance between function and design must always be the main goal, but finding that balance in a short amount of time, will become extremely important.

‍
All knowledge and expertise that the practitioner can acquire from school or work experience should therefore focus on building a strong foundation (in visual arts that would be typography, semiotics and layout) that can be adjusted to future technical development.

‍

Engaging with designers and typographers across diverse realms of design presents a challenge: it's hard not to feel apprehensive about the direction of design. Many seem entrenched in their craft, espousing ideas and ideologies like symmetric or asymmetric typography with unwavering pride. Yet, it's evident to me that clinging to these ideologies only serves as a facade for their underlying insecurities, hindering their perception of reality.

‍

In contrast, I find solace in embracing uncertainty, acknowledging that true knowledge lies in accepting the unknown. I prefer to navigate based on what lies before me, without the need for rigid ideologies or systems. To me, they are merely tools, akin to a hammer and nail, devoid of inherent value beyond their practical utility. However, openly discussing this perspective isn't popular; You then shake the walls of the illusionary castle designers live in.

In the absence of rigid rules and entrenched ideas that define their personality and ego, some individuals fear they'd lose their uniqueness—blending into the crowd like everyone else. It's a common desire to feel special, to stand out from the masses. Yet, this notion contradicts the essence of life and nature. Who truly determines whether a rose is superior to a lily? Only humanity. Deep down, we recognize that diversity is the very heartbeat of nature, and there's unparalleled beauty in its myriad forms.

‍

Therefore, it becomes paramount to honor one's innate nature. If a lily were to envy a rose and prioritize one form of beauty over another, the delicate balance of nature would be disrupted.

“...the more dubious the state of the world becomes, the more beautiful it is to be. There have never been so many museums built as there are today, shrines of transcendent aesthetics”

Otl Aicher, The World as Design, p 27.

I would say that today, when society proclaims the advancement of an individualistic solution for everything, the step backwards towards a functional approach – where the designer is anonymous and who's vision not lies in the selfs glory and manifestation but in the peaceful practice of an art that benefits the society as a whole – is at large threatened.

“The state is destroying a critical and analytical culture before our very eyes and creativity is degenerating to the manufacture of beautiful façades and beautiful packaging. The show has to be even more colorful. The principle of progress means increasing turnover by ever more beautiful consumption”

Otl Aicher, The World as Design, p 27.

Is design to become a slave to industry where increase revenues are the only markers of success? A world where ideas and dreams are valued more than the thing itself – It´s form and usability?

“Design should be called for here that is critical, that can question things, that is analytical and can uncover roots. Instead design is constantly encouraged by the state as a way of making even more beautiful packaging, of stoking consumption with even more products that nobody wants, of making the surface of things that are often superficial even more brightly colored and attractive and of reducing existence to merely working our way through constantly changing fashions”

Otl Aicher, The World as Design, p 26.

Must we as designers reject consumerism? We don’t say that airplanes or ships should foremost look good and secondly be functional. If they where the would crash and sink. The same is true for buildings and vehicles. They are all functional first and secondly beautiful or aesthetic. That’s how it should be. Nature constructs through processes where strength and function manifest natural beauty.
Consumerism acts as the fuel for design and, similar to a car, it all depends on how we use it and where we are going.

“We no longer buy things because of their appearance, because of their form, we buy them as symbols...they no longer represent themselves, but what has been breathed into them as transcendence”

Otl Aicher, The World as Design, p 33.

As long as we translate aesthetics to something beyond purpose and rational explanation we will see companies building powerful brands that try to convince us to buy stuff we don't really need. Happy that we now know more about how our mind works and why we buy a certain product, we create tailored solutions and services to cater for a future addiction that we don’t even know that we will have.

I believe it's part of our never-ending search for meaning and stability that makes us turn to abstract sources. When religion is descending, consumerism and branding is ascending. We turn to brands to cater for our constant need for love, security and belonging.

“We feel better than ever before, however loudly the clock is ticking. Enjoyment is the content of life... That is what modernism has to do today. Stop us finding out what the bell is toiling”.

Otl Aicher, The World as Design, p 27.

Haven’t you noticed that where ever you turn there is a promise of salvation in the near future? Everyone seems to live for the world to come – not for this one. Do this or that and you will be saved from suffering and misfortune. No one even questions our excessive need to visualize future goals and constantly drive to exceed our past. The carrot hanging before our eyes promise a salvation in a near future. If I do this... if I achieve power... money.... if only I had the knowledge...

We constantly try to flee the present moment and reality itself. One might doubt for a second and seek serious answers in philosophy or religion, but only find that even these are focused on HOW to achieve happiness or become a more suitable human being. Teaching us that we CAN become. IF and HOW seems to be powerful words that manifest reality.

Mindfulness has become the trend and active users travel the globe and promise future results. No one even seems to see the ridiculous part in that the knower can understand the known. Like the finger contemplating over its separate existence in the body. We are a unity where our consciousness is only a part of the whole, similar to the stomach and its function. It acts on its own accord and is perfect as it is and for you to interfere with it is as destructive as controlling your breath. Even that phantasy of achieving a certain state of existence or experience is connected to our overall consumerism and inexhaustible need for enjoyment.

This strive for something external to comfort us, reminds me of a quote from my favorite philosopher Krishnamurti:

“To be a light to oneself is not to follow the light of another, however reasonable, logical, historical and however convincing. You cannot be a light to yourself if you are in the dark shadows of authority, of dogma, of conclusion”.

J. Krishnamurti, This Light in Oneself, 1999, p.2

Is it the freedom to follow ones own heart – never accepting external rules or ideologies – that makes us stiff and slow? Do we really think we need ideologies or principles as crouches to be able to walk the path of our profession? Isn’t it those principles and ideologies that restricts us from adopting to the continuous movement of time?
‍
Our innermost fear of dying and disappearing into the void makes us fanatically hold on to ideas similar to a log in the waves of time. It doesn’t help you and it’s far better and more fun to surf the waves.

“Admittedly, no truth is exhaustive. Behind every answer there is a question. But can we, instead of asking more questions, do without answers and be content with seeming and appearance? In fact not just be content, but seek the real truth precisely in this, in seeming?”

Otl Aicher, The World as Design, p 32.

Can we become free from the claws of our past and future selves? Can we look at a thing for the first time without our glasses of conditioning and see exactly what it is and how we can improve it? Is that possible?

It wasn’t a coincidence Otl Aicher choose his former students from HfG at Ulm as his coworkers when designing the identities for Lufthansa and the Olympic Games in Munich. He didn’t choose senior designers because he know they where full of conditioning and couldn’t see clearly. You might think he choose them because he had already given them a system to work by and therefore they would follow his every step. That’s what historians would like to say about Otl Aicher and the asymmetric typography that emerged during the 1950s. That it’s ideology had its roots in functionalism. It’s convenient for all of us if we can put all of those designers that acted during that time into a container and put a label on it. But nothing could be more wrong.
If anything would denote the designers around Otl Aicher it would be the desire to work without a concept or preconceived opinion of how things should be done. A desire to look at a thing from the standpoint of Zero hour, with no past or conditioning, and how to improve its usability from it's innate nature.

A desire to look at a thing from the standpoint of Zero hour, with no past or conditioning, and how to improve its usability from it's innate nature.

‍

“At that time in Ulm we had to go back to the matter in hand, to things, to products, to the street, to the everyday, to people. We had to turn around. It was not for example a question of extending art to the everyday, to application. It was a matter of counter-art, civilization work, civilization culture”

Otl Aicher, The World as Design, p 87.

One could argue that the view towards art and design that Otl Aicher stated was an effect from living a life where systems and ideologies had taken everything of value from him. He was afraid of ideas that transform the minds of everyday man and the danger they impose on reality. He had seen it directly during the Second World War. He needed to focus on the present and how to make this life better not the next.
‍
From a designers viewpoint it’s therefore fascinating to hear his words when talking about the designs of Braun and the Olympic Games, today still trademark of great design work.

“There was no artistic model for the design of Braun radios and electric equipment. There was no artistic model for the corporate identity of Lufthansa or the Munich Olympics. On the contrary, whenever anyone said that there were general artistic criteria for design, we had to go our separate ways. We thought things out from the matter itself.”

Otl Aicher, The World as Design, p 23.

There is a great responsibility of being a designer and the tasks that await oneself is not easy. There seems to be a trend and optimistic view of becoming a designer today. More and more try to get in at the best design schools thinking a fun and lucrative work awaits them in the future. But nothing could be more wrong. And its actually nothing new. This occupation demands a lot from its practitioners and the words of Norman Potter seems as fitting today as it did in 1969.

“It will be seen that a designer must be capable of more detachment than may be necessary to a fine-artist. He must be able to weigh up a problem, or an opportunity, in a dispassionate way, on its term (as well as his own), and to select, arrange, and dispose his decisions accordingly. He must be able to thrive on constraint and to turn every opportunity to good account.”

Norman Potter, What is a designer, p 18.

Designers balance freedom with constraint. The cherished freedom off the fine-artist is nothing for the designer to strive for. Its just another carrot hanging before our eyes and, through our incapability to see our surroundings, only leads us deeper into the depths of our narcissism.
A ”style” is an obstacle towards communication. To communicate an idea in the strongest way possible, to an broad range of receivers, leaves little room for the ego.

“Typography that is free and unregulated atomizes language, serving up linguistic scraps, and nullifies that which turns language into communication – its meaning… In the pursuit of the absolute, he is left with absolutely nothing.”

Otl Aicher, Typographie, p 15.

We might not need a system when working on designing a single item but when working on larger and more complex design challenges one needs a structure to control the outcome. Designing a book is a good metaphor. Book design is a design system in a small context where corporate identity is a design system in a large context. Everything has to relate to a common ground where the design and marketing concept is the root of the tree structure. A holistic brand strategy must always begin with the root of the tree. By working on the root first the complexity of the branches (corporate segments) and all the leaves (brand touch points) doesn’t need to blind you. It’s quite simple actually.

The branches will naturally adopt and evolve to the new system, without struggle. Working from the ground–up or within–without and not the other way around.

“One must have the option of straying from any rule, but the route back must be left open and not obliterated. Typographical freedom that takes the form of orderless art signifies the end of typography”

Otl Aicher, Typographie, p 16.

Following certain principles when working with design mustn’t become hinder to our creative mind.

All design, regardless of discipline, that does not have the sole purpose to enhance, improve or simplify everyday life should be considered Art and categorized as entertainment.

Typography and graphic design has become so popular these days that it attracts tourists from all over the world. Tourists are always welcome, but what this craft really needs are settlers. Could we commit to a craft and see the work through to completion? You don’t need to plan for the future, thats irrelevant. Just ask yourself that question. Could you commit? That’s all. That commitment is enough.
‍
We don’t need more tourists, we need serious designers that commit to this craft and not only to their wallet and immediate satisfaction. I envy the time when design was regarded as something important and discussions about the core philosophy or its execution could arouse the most heated passions. Where are those voices now? Are they only echoes from the past? Today I hear songs that relate to individualistic stimulation where constant entertainment is our heavenly realm.

Am I entertained? Do I feel stimulated? Am I bored? Am I respected? In the depth of silent contemplation – these are the questions that emerge in students and practitioners alike.

Entertainment has no other root than to release man, for a brief moment, from the responsibilities and problems of everyday life. Contrary to entertainment, good design should be functional and solve everyday challenges and problems without escaping them.

A commitment to improve and benefit society and mankind should be the trademark of a designer and therefore dreams and vision of the future are looked upon with great skepticism. Knowing that ideology and fantasy, and not reason and awareness, leads to a world where illusions are valued more than the concrete. Today, political and socially fallacious views of interdependence, suffocates the silent and diverse voices of individuality. Who can be heard when the masses scream like a joyful choir? Singing happy songs of agreement while at the same time silencing their own whisper of disagreement. For the masses It’s all just a childish game. No one seems to take it seriously. For the serious typographer, knowing that the survival of the craft depends on it´s practitioners, the world is simply a habitat where legacy is worth much more than gain and fortune.

The world is simply a habitat where legacy is worth much more than gain and fortune.

When we become serious in design and understand that we must question everything, we enter uncharted territories where our commitment (grounded in our own light), intuition and common sense is our only guides.

The foundation of good design, is design that matters.