Mathematics in Design

As we progress through chapters five through eight in Megg's History of Design, we start to see an increased discussion of the role of mathematics in the design process. The capitals in Griffo's Bembo type "used the one-to-ten (stroke weight to height) proportion advanced by leading mathematicians of the era." (Meggs, p104) The construction of the Romain du Roi typeface, the official typeface of King Louis XIV's Imprimerie Royale, was created by a team of scholars headed by mathematician Nicolas Jaugeon. Nineteenth century craftsman William Morris declared the development of this typeface "saw the calligrapher replaced by the engineer as the dominant typographic influence." (Meggs, p122) In the sixteenth century, mathematics professor Oronce Fine was a popular graphic designer for his "mathematical construction of ornaments" and the eighteenth century saw the development of information graphics to represent statistical data. (p113) Although people may choose to classify themselves as either right-brained or left-brained, dependent on their predisposition towards either more scientific or more artistic thinking and abilities, science and art are not mutually exclusive. Art and design can be enhanced and created through the fundamentals of science and math.

A fascinating contribution of mathematics to art and design is the golden ratio and the fibonacci sequence. The golden ratio, also known as the golden number or golden mean, is an irrational number roughly equal to 1.618. The Fibonacci sequence is a sequence of numbers, beginning with one, where each number is the sum of the two before. So the Fibonacci sequence begins with 1, 1, 2, 3, 5, 8, 13..., etc. The further one travels down the sequence, the closer the ratio between the two numbers gets to the golden ratio. The sequence can be represented visually in the form of a spiral, shown below:

Source: Wikimedia Commons

The golden ratio and the Fibonacci sequence occur commonly in nature. The number and structure of seeds, petals, and spirals in sunflowers, pinecones, and pineapples are often a Fibonacci number, and the structure of a Nautilus shell shows the Fibonacci spiral.

Source: photoshoptutorialsandtips.com

These same concepts can be applied to art and design. Meggs' text discusses how mathematics was used in designing historical typefaces, and this is still an important part of typography. But typography is not just about the construction and design of the individual letterforms. Font size, line width, line height, and the proportions between them must all be considered when creating a new typeface and using them in documents to the best effect. Many sites offer modular scales and calculators to find the best proportions for font creation and placement. In the article "More Meaningful Typography," author Tim Brown (2011) offers an in-depth look at using the golden ratio in developing a modular scale. His article explores how this affects balance and appearance in web design and creates a stronger and more pleasing visual. Designer Nick Meccia (2013) also promotes the use of the modular scale in design, explaining that "its purpose is to introduce hierarchy and consistency into typography via mathematical relationships." He adds that incorporating the Fibonacci sequence and golden ratio into designs can "elevate [the] visual impact."

Golden Ratio equation - Source: mathisfun.com

But the use of mathematics and proportion is not limited to only typography. Fine's art is just one example of an artist whose work incorporates mathematical principles to great effect. Many of the works of artists like Leonardo daVanci, Georges Surat, Salvador Dali and others have been analyzed for proportions aligned to the golden ratio, although it is not known for certain whether this was intentional in every case. Artist Edward Burne Jones did use the ratio when composing his work. "The Golden Stairs," shown below.

Source: Wikimedia Commons

With all the modern advancements in technology, incorporating principles of math and science into design becomes easier than ever. One does not need great mathematical skill or a heavy education in these topics. Readily available online tools like the modular scales and calculators and instant connection and advice from others on posting boards and listservs can improve the accessibility and use of these tools for anyone interested. While early typography and design seemed to be limited to those with great education, innate talent, or the right connections, these days, anyone with drive can find what they need to create their own works and find an audience.

Sources:

Brown, T. (2011). More meaningful typography. Retrieved from http://alistapart.com/article/more-meaningful-typography 

Hamilton, L. D. (2014). The golden ratio and typography. Retrieved from http://www.lauradhamilton.com/the-golden-ratio-and-typography

Meccia, N. (2013). Designing irrationally. Retrieved from http://blog.8thlight.com/nick-meccia/2013/08/23/designing-irrationally.html

Meisner, G. (2014). Golden ratio in art composition and design. Retrieved from http://www.goldennumber.net/art-composition-design/

Meggs, P. B., Purvis, A. W. (2006). Meggs' history of graphic design. Hoboken, N.J.: J. Wiley & Sons.

Pearson, C. (2011). Secret symphony: The ultimate guide to readable web typography. Retrieved from http://www.pearsonified.com/2011/12/golden-ratio-typography.php