Jan Conradi
He raises questions but doesn’t
Typography: Formation and Transformation by Willi Kunz
(Verlag Niggli AG, Zurich, 2003), ISBN 3721204956,
160 pages, illustrated, $56.00, hardcover.
(Available in the US from Willi Kunz Books.)
Too many design volumes on bookstore shelves seem
superficial and formulaic. However the formula must
work: simply gather short snippets of quotes from
currently hot professionals, combine the writing with
colorful images, then bind it all under a title promising
quick and easy answers to various design shortcomings.
These books offer plenty to look at (or mimic) and a few
gems of wit or wisdom to ponder. But then what?
Then reach for a reference that provides depth, sub-
stance and timelessness. A volume where the author’s
vision and passion come together in a way that is mov-
ing, or perhaps I should say: transforming. Willi Kunz
has once again written just such a book and anyone seri-
ous about typography should have Typography: Form-
ation + Transformation as a reference. It is an inspiration
both for beginning students of typography and for exper-
ienced designers who may need a reminder of what fas-
cinated them about typographic communication in the
first place.
Kunz writes much as he designs, with a refresh-
ingly spare and focused approach. He is not afraid to
use language that might challenge some readers, but
he is just as likely to bluntly announce that a thought-
less approach to typographic space is “sloppy.” Kunz
illustrates his ideas exclusively with his own work
rather than showing work from a variety of designers.
Some might say this is limiting but couldn’t one also
argue, as he does, that it is inspirational? Seeing how
one designer solves problems aids understanding for
putting principles into practice. Kunz believes creating
a body of work in a long-term relationship with a client
allows visual communication to evolve and mature. He
also believes setting high standards is the best route to
intelligent design and professional satisfaction.
By dividing content into three sections, Kunz decon-
structs typography as a mixture of art and science. The
introduction acts as a manifesto of his belief in elemental
design truths. It references his previous book, Typography:
Macro- and Microaesthetics, reminding readers to think on
both levels. While acknowledging stylistic variations as
a reality in typographic design, Kunz is not drawn into
arguments of style. He focuses instead upon key issues
of clarity and effective communication.
The first section discusses fundamentals, but not by
repeating ubiquitous classifications and lists of letterform
vocabulary. The focus is upon the poetry of typographic
form at the most basic level. Kunz encourages readers
to consider possibilities inherent in structural forms of
Design Issues: Volume 22, Number 1 Winter 2006
letters, words, and text.
always provide answers. He expects his readers to make
connections and discover possibilities that resonate,
sometimes with just a single example as a guidepost.
Where is formation? Where transformation? Kunz
encourages us to distill typography to its essence then
to build, shift, and layer, forming abstract symbols that
transform into logical communication. Exercises on the
creative potential embedded in form and counterform
would be eye opening to a novice. How might a letter-
form logically evolve into a symbol or logo? Kunz shows
how logical steps transform a Bodoni “a” into a symbol
alluding to a sunlit pathway. Examples of posters, publi-
cations and experimental studies help clarify ideas for
transforming space, proportion and composition. Final
designs are often accompanied by superimposed struc-
tural diagrams to aid our understanding. Kunz wants
readers to analyze design, to find patterns and connec-
tions. He wants us to become better, more thoughtful
designers.
What is the importance of rhythm? For Kunz it is a
critical component of design. The whole book stands as
a testimony to this, showing how rhythm animates space
and consequently engages the reader. Kunz chooses to
indicate paragraphs through an extended line rather than
using more traditional indentation or added line spacing.
The result is a livelier text block, but part of the reason
this form is effective relates to his writing. It is crisp and
incisive, distilling each thought into a streamlined but
energized expression. Form and content merge into a
cohesive whole.
In the concluding section Kunz illuminates his
design process through applying topology: a concept
of diagrammatic representation commonly used in
mapping. He references maps to explain topology from
a typographic standpoint saying “the diagram helps the
designer to move between working with abstract rela-
tionships and working with the concrete details of the
design.” Topology adds a layer of analytical possibility
beyond the structural organization of a grid. The concept
is valuable and is well illustrated with a series of posters
by the author, but it is one thing to interpret his work
and quite another for designers to integrate this method
into their own working process. Readers expecting
instant answers will likely find this concept frustrating.
Readers content with superficial solutions won’t get this
far in the book.
It is impossible to discuss Typography: Formation +
Transformation without mentioning its relationship with
Kunz’ first book. The two interweave and at times over-
lap. Content from each elaborates upon the other. In fact
a discussion with the author pointed out the intentional
nature of this relationship, as he believed there were
points the first book hadn’t fully addressed. Is it possible
in the future they could be merged into one? Perhaps,
but for now there are two.
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.

What other means

What other trans-
formations of the letter A
are possible?
How does the letter A in
a serif typeface transform?
can be used to create
new signs?
Are letterforms more
conducive to literal or
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