Design Observer

About
Books
Job Board
Newsletters
Archive
Contact



Observatory

About
Resources
Submissions
Contact


Featured Writers

Michael Bierut
William Drenttel
John Foster
Jessica Helfand
Alexandra Lange
Mark Lamster
Paul Polak
Rick Poynor
John Thackara
Rob Walker


Departments

Advertisement
Audio
Books
Collections
Dear Bonnie
Dialogues
Essays
Events
Foster Column
From Our Archive
Gallery
Interviews
Miscellaneous
New Ideas
Opinions
Partner News
Photos
Poetry
Primary Sources
Projects
Report
Reviews
Slideshows
The Academy
Today Column
Unusual Suspects
Video


Topics

Advertising
Architecture
Art
Books
Branding
Business
Cities / Places
Community
Craft
Culture
Design History
Design Practice
Development
Disaster Relief
Ecology
Economy
Education
Energy
Environment
Fashion
Film / Video
Food/Agriculture
Geography
Global / Local
Graphic Design
Health / Safety
History
Housing
Ideas
Illustration
India
Industry
Info Design
Infrastructure
Interaction Design
Internet / Blogs
Journalism
Landscape
Literature
Magazines
Media
Museums
Music
Nature
Obituary
Other
Peace
Philanthropy
Photography
Planning
Poetry
Politics / Policy
Popular Culture
Poverty
Preservation
Product Design
Public / Private
Public Art
Religion
Reputations
Science
Shelter
Social Enterprise
Sports
Sustainability
Technology
Theory/Criticism
Transportation
TV / Radio
Typography
Urbanism
Water


Comments (5) Posted 09.14.10 | PERMALINK | PRINT

Lorraine Wild

The Black Rule


Knoll International, Graphic Program, 1966-1980


The Black Rule is intimately connected to a typographic grid, and the paper it’s printed on. It’s the sign of the hand of a graphic designer who shows no sign of his hand. It’s not really necessary, but it’s critical to the identity of the work and the person who imagined it. It’s an indulgence wielded by an unusually unindulgent designer.

The Black Rule rocks the tradition of black as a marker of importance and formality. Black letter, black leather, black lingerie, black marks, black tie, the black box, black robes, the black frame that turns white paper into an obituary: the depth of black takes each situation and makes it more so. It’s a western tradition, this gravity of black; so deep-seated as to be unmistakable, even when not specific to the message. At the very least, black says, “Pay Attention.” (…“and by the way, the paper ends here”).

Now why is that parenthetic comment of any interest? Because the other thing The Black Rule is, is an anachronism. This from a designer known for his attachment to an ideal of timelessness. (It just goes to show that you can’t control everything, as much as you might like to). The Black Rule defines the edge of the paper, the space of the page, the hierarchy of heads and subheads, stops and starts. The width and depth of The Black Rule is proportionate to the grid. The grid was a regular, mathematically simple, framework for the sizing and proportioning of text and images, often driven by the proportion of the photographs, divided by the spaces between paragraphs. One thought of the spaces and boundaries of the old-school grid as being quite physical, devoid of ambiguity and capriciousness. Back in the day when a young designer had to take a piece of coated illustration board and draw a grid with non-reproducing blue pencil upon it, to start the work of laying out a poster or a brochure or a book, when all that work had to be done before you even began what you really needed to do, the right grid would simplify the options and efficiently speed the job along.

Grid in the three dimensional space. From Grid Systems by Josef Müller-Brockmann


A digression is in order, here. There is a famous diagram by an august Swiss proponent of the grid that shows a typographic grid extended into a three-dimensional space: it’s just a room, but it might as well be stretching into infinity. If you saw the movie Tron, the one that sort of tried to visualize what William Gibson might have meant by cyberspace, it didn’t look that different from Josef Müller-Brockmann’s giant fishing-net of gridspace stretched like Lycra across all (Day-Glo and black) reality. But it turns out that there is no edge to cyberspace, not on a screen and not out there in the giant networked whatever. Only that which is solid has an edge: a wall, a building, a piece of paper. So the physicality of The Black Rule is an analogue of the finite, architecture reduced to two dimensions, connecting the structure of the grid to the field that it is defining (and it is definite); it has a beginning, points along the way that need support, and an end. So another way of looking at The Black Rule is to not see it as superfluous at all, but as important to a poster as a 2 x 4 might be to holding up a tract house. You can’t just saw it off and expect things to stand up. Because the grid without some sort of dynamic support is just a (theoretically endless) field of options, and The Black Rule provides a decisiveness that turns out to be quite affective, and obviously fetching.

New York Metropolitan Transit Authority, Subway Transportation Graphic Program, 1966

United States National Park Service, Publication Program, 1977

Any text looks fine knocked out of The Black Rule: “Lexington Avenue” knocked out in Helvetica, hung from a grubby subway ceiling; “Joshua Tree National Park” knocked out in Helvetica, edging the top of a folded U.S. Park Service map; any number of words set in Bodoni, or Garamond #3, or Century Extended, hanging below The Black Rule. Another thing about The Black Rule is that it is democratic: though its formality emanates from the power of Black, and its authority emanates from its connection to the grid, it sits just as happily on a piece of non-profit newsprint, or matte-coated paper, or powder-coated steel, or 100 percent rag stationery. No snobbery connects to The Black Rule.

So The Black Rule is definitive, of space and the designer who wields it. One cannot help but admire a gesture so all-purpose, so ordinary, so formally effective yet totally unusable by anyone else than Massimo Vignelli. And this, finally, is the other anachronistic oddity of The Black Rule. Vignelli discovered and claimed it for his own at a time when design moved more slowly: when designers had time to mark their own work, when individual gestures did not circulate at the speed of light, independent of their sources. And though the word brand was never used back in that day, The Black Rule surely performed that function for Vignelli, along with all the other tasks it was assigned. By the time other designers recognized it for what it was, it had been utilized, in all of its faux simplicity, simply too often for anyone else to adopt it without feeling as though they were stealing something (or at least being terribly unimaginative). Inversely, clients were more than happy to flaunt The (same) Black Rule, as a sign that they had joined the club, subjected themselves to the process of working with the Vignelli Office: The Black Rule as badge of (well-earned) allegiance. In the end, The Black Rule belonged to everyone, except some other designer (unless they were willing to play the sticky post-modern wicket [and….cue Massimo, chuckling in the background]). It is so impossibly hard to think of any designer owning a thing like The Black Rule the way Massimo Vignelli owned it. Time, and space, and grids, and graphic design in control: none of these work in quite the same way, anymore.
Share This Story

RELATED POSTS


Mothers Day Special: Baby, It's You!


Accidental Mysteries, 05.29.11


Mothers Day Special: Baby, It's You!


Stealth Iconography: The Google Maps Pin


Health for Sale



RSS Subscribe to Comment Feed

Comments (5)   |   JUMP TO MOST RECENT >>

"...yet totally unusable by anyone else than Massimo Vignelli...."

Even so, I cannot help but notice that it does appear rather prominently at the top of this web site!
Rob Henning
09.14.10 at 04:46

I admire Massimo Vignelli so much. I've read his Canon over and over and still manage to learn something new from it each time I read it.


It's a great week to be tuning into Design Observer... I'm loving these articles!

Matthew Brown
09.14.10 at 07:07

Umm.. didn't I just read in one of this site's other Vignelli articles, that the black rule in the NYC subway signage was an accident? I recall reading that Vignelli drew the signs as hanging from a black linear mounting, but the sign fabricators mistook that for part of the design, and just slapped the black line on the sign itself.
Charles
09.15.10 at 01:22

I like the clever implication of the "rule" (horizontal line) in the "rule" (legacy) of Vignelli, a designer known for his "rules" (governing principles), and I like the insights of the article as a whole. Also, "Black Rule" is kind of trending in some fringe and extremist American political discourse right now, which makes the title snappy, so kudos on that. I don't think it would make the article *less* clever if you went ahead and explained what "The Black Rule" means in this context from the get-go, for any readers who aren't up on their typographic lingo. As it stands, I think it's a little smug that you don't.
Joe
09.15.10 at 05:04

Umm.. didn't I just read in one of this site's other Vignelli articles, that the black rule in the NYC subway signage was an accident?

The black bracket as originally specified would have created the same effect as a black rule (albeit with a little more functional integrity). So the intention was really the same.
Michael Bierut
09.16.10 at 12:13



LOG IN TO POST A COMMENT
Don't have an account? Create an account. Forgot your password? Click here.

Email


Password




|
Share This Story



Lorraine Wild is a designer and educator in Los Angeles. She established her own design practice, Green Dragon Office, in 1996 to focus on collaborations with architects, curators and publishers.
More >>

DESIGN OBSERVER JOBS









MORE ON Vignelli


Looking Back, Thinking Forward: A Narrative of the Vignellis
Vignelli Celebration: Jan Conradi on Lella and Massimo Vignelli and the opening of the new Vignelli Center for Design Studies at RIT.

Massimo Vignelli
Vignelli Celebration: Season premiere of Design Matters with Debbie Millman, a podcast interview with Massimo Vignelli.

Heller on Heller
Vignelli Celebration: Steven Heller talks about the redemptive qualities of having the same name as Vignelli's Hellerware.

Massimo Vignelli: Oppositions, Skyline and the Institute
On Places, a gallery of Massimo Vignelli's graphic design work for the Institute for Architecture and Urban Studies, written and curated by Kim Förster.

The Kindness of Strangers
Vignelli Celebration: If charity begins at home, how can we proclaim new and progressive agendas of social change without examining ourselves, our students, our profession?

Dot Zero
A look inside little-known design publication Dot Zero, the house organ of pioneering design consultancy Unimark, featuring a slide show and an interview with its designer, Massimo Vignelli.

Massimo Vignelli’s Desk
Vignelli Celebration: Alice Twemlow snoops around Massimo Vignelli's desk.

Massimo Vignelli vs. Ed Benguiat (Sort Of)
Vignelli Celebration: Republication of the 1991 debate between Massimo Vignelli and Ed Benguiat published in Print magazine.

Vignelli’s Herald (or Heralding Vignelli)
Vignelli Celebration: Steven Heller remembers the Herald.

Mr. Vignelli's Map
Vignelli Celebration: Massimo Vignelli's 1972 New York City subway map is a beautiful example of information design that was ultimately rejected by its users.

John Madere: Massimo Vignelli
Vignelli Celebration: This film about Massimo Vignelli was directed and filmed by John Madere in 2010.

Lella Vignelli
In my ten years at Vignelli Associates, I came to understand the relationship between the two brilliant designers who ran the office. Massimo would tend to play the role of idea generator. Lella served as the critic, editing the ideas and shaping the best ones to fit the solution.

Interview with Massimo Vignelli
Vignelli Celebration: Debbie Millman interviews Massimo Vignelli.

Lella and Massimo Vignelli: The 1982 AIGA Medal
Vignelli Celebration: In 1982 Massimo and Lella received the AIGA Medal for their many contributions to the design world, here is an article which originally appeared in the 1983 issue of AIGA Graphic Design USA 4.

Lella and Massimo Vignelli: A Celebration
Vignelli Celebration: The opening and dedication of the Vignelli Center for Design Studies, set to open September 16, 2010 at Rochester Institute of Technology.