A Typographic Quest, Number 5, Typographic Contrast – booklet, Westvaco, Carl Dair, 1967

From there, Dair turns to the practical means of achieving contrast: through size, weight, form, structure, texture, colour, and direction. He also considers non-typographic methods – isolating elements, selecting the right paper – before returning to his musical metaphor. In this model, letters are the notes; contrasts become chords; and rhythm emerges through the spacing and pacing of design.

In many ways, this is the most fully realized volume in the series. The arguments are clear, the examples memorable, and the metaphors feel true – whether your ear is tuned to classical or popular forms. – Rod McDonald

Artifact Text

What’s typography got to do with music? (excerpt from page 1)

People who are sensitive to the subtleties of graphic design often express their appreciation of a particular arrangement by trying to give it a vocal form. They will look at something and say “da da da DUM” or deedee deedee deedee ping!” or some other nonsense phrase to interpret the rhythm and emphasis of the visual experience. This kind of noise can scarcely be called music, but it does express the common denominator of graphic form and musical form: rhythm and emphasis, harmony and contrast.