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The ground was prepared for Vorticism by the visit to London in 1913 14 of Marinetti, the Futurist

leader, bathing dresses to lamp shades. The Vor-ticists reacted against this with some violence.

Vorticism was an anti- romantic move-ment. The leaders particularly Wyndham Lewis, were absorbed with the idea of blasting all outmoded elements of English art out of existence and re- placing this artistic junkyard with Vorticism- , new living abstraction, They even called Marinetti and Italian Futurists ,roman-tic and sentimental

In the first number of Blast, the opening manifesto was a typographic extravagance, asymmetrical, and with big, bold badly printed capital letters blazing across the page. This ap-parently impressed the Russian typographer Lazar Lissitzky. The Blast typography, clumsy though it may seem to be today, looked most revolutionary in 1914

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Domains of typographic work Typographic building blocks Typographic properties

MICROTYPOGRAPHYrelates to the design offonts and individualgraphic signs

type face type size type style colour of type

Garamond, Verdana etc. point size graph, style, mode black vs inverted or coloured,

etc.

MESOTYPOGRAPHYrelates to the configurationof graphic signs in linesand text blocks

letter fit word spacing line spacing (leading) amount of print on page alignment of type(type com-

position) position /directionof lines mixing of fonts

standard, spaced,reduced, etc. narrow, wide, etc. double spacing,single spacing signs /print per page left-/right-aligned /centred horizontal, vertical,diagonal,

circular hand lettering plus type

MACROTYPOGRAPHYrelates to the graphicstructure of the overalldocument

indentations and paragraphing caps and initials typographic emphasis ornamentation devices

size of text blocks, distance between blocks

ornamented/coloured underlined, italics etc. headline hierarchies, enumera-

tions, tables, charts, indices, footnotes, marginalia, etc.

image-caption-relations, figu-rative letters.typopictoriality

PARATYPOGRAPHYrelates to materials,instruments and techniquesof graphic sign-making

material quality of medium (paper quality)

practices of signing (Sttzner, 2003: 298ff.)

thickness, format, surface, etc. graphing, characting, compos-

ing, moulding (Sttzner, 2003: 299)

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Oldstyle (Venetian)

Oldstyle (Geralde)

Transitional

Modern

Slab ( Egyption)

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Octave 1:2

major 7th 8:15 minor 7th 9:16

major 6th 3:5 minor 6th 5:8

5th 2:3 dim 5th/aug.4th 1:2 4th 3:4

major 3rd 4:5 minor 3rd 5:6

major 2nd 8:9 minor 2nd 15:16

Unison 1:1

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