Walter Nikkels, Depicted:
When a design is good, it objectifies seeing, it takes a distance from its maker, the design takes on a natural character, as though it had always been there. Conversely, when the design has not been entirely successful, it remains your design, in its failure to succeed completely remains incomplete, as it were, and does not want to separate itself from its maker. (He then becomes a culprit rather than a designer).
Typography is the backbone of graphic design. Virtually all specific tasks you deal with as a graphic designer were formulated in the history of book design. Typography is to graphic design what painting is to the visual arts: the top number. Beyond that I see two conceptual trends in history of typography: interpretive typography, which analyses the content and attempts to response to its design, and autonomous typography, which considers interpretation nonsense. According to the this second trend, typography should refer to itself.
As a young designer I noticed that modernist typography is easier to learn than classical typography, because its structure and decision process can be easily and objectively described, like in a schoolbook. Classical typography is tricky; it is a web of optical corrections. It requires a long training in looking and thinking.
Typography is nothing but representation and dignity. Unlike many of my younger colleagues I try to deal with images with an ethic and aesthetic derived from typography, rather than the other way around. Typography is concerned with the logic of reading, including the reading of images. A book is a narrative, a sequence of pages. The images too have to be narrated in a book. Displayed in a logical way and plausible way. Narration and display come together, related to each other. The illustration can be narrated and the text can be displayed. In my work the only thing that matters is the dignity with which this takes place.
Typography is a discipline of silence. Now and again it tries to be noisy, but that is almost always bound to fail, unless the loudness is called for, for example, a poster and sometimes in advertising.
The typography, the treatment of the text.
In the theory of typography, the intercharacter spacing and the interword spacing are considered essential for the quality of a text as a visual structure. That though is based on the classical canon of mutually harmonious relations between measurements and spacing.