In music, rigorous study o repertoire, theory, and physical
application iswhat allows the musician the improvisational reedom
to move the listener.Musical instrument per ormance represents the
per ect synthesis o theory and practice. Theory is study understood
and fnally applied. But
the essence is that theory (or thinking) is orgotten in the
moment o per ormance. In the visual arts, as in music, it is
important to ollowa developmental trajectory that a ter diligent
application ultimatelyincludes not so much orgetting, as not paying
active attention tothese principles. You must trust yoursel , and
work by eel. Rely onthe totality o your experience. Rely on your
history to guide you.Think through the body. Arrive on the beauti
ul shores o naiveteand anti-mastery only a ter toiling in the felds
o mastery. I at thispoint you eel the need to accuse me o anti-
intellectualism, youdbe barking up the wrong tree. Im an advocate o
practice in ormedby theory and li e. Its really a question o
priorities and balance. AndId like to be clear here. I am not
suggesting that the type designprocess necessarily adheres to a
strict taxonomic progression. AndIm certainly not an advocate o a
rigid categorical approach todesign o any orm. Quite the contrary.
Its my contention that theedge condition, the tension that exists
in the gap, is where theaction is. But or the designer interested
in beginning to come togrips with letter orm design, locating ones
work within the threecategories described above is o ten help
ul.
