shadow of white space

<n>MUDEC (Museum of Cultures)</n> in Milan, designed by <n>David Chipperfield</n>, c. 2015.

Photo by <n>Mikhail</n> featuring clothing by <n>Atlantic clothing</n>.

The fractal septum of an <n>Argonauticeras besairei</n> ammonite fossil from Madagascar. By <n>José Juárez Ruiz</n>.

A translucent-cased <n>Apple</n> <n>Macintosh SE</n>.

<n>De-Capitalizing Our Language</n>, a graphic for <n>Atmos</n> designed by <n>tessa forrest</n>.

A <n>Giant African land snail</n> (<n>Achatina achatina</n>).

Campaign for the 22nd <n>International Garden Festival</n> at <n>Jardins de Métis</n>, 2021.

The <n>Datura</n> plant, from <n>Loto del Sur</n>.

<n>Brugmansia</n> flowers from <n>Datura Daze</n>, a creative project by <n>Sarah Laroche</n>.

<n>Flying Saucer</n> by <n>Tim Walker</n> for <n>Vogue UK</n> featuring <n>Kinga Rajzak</n>, 2009.

A moon flower photographed by <n>Stacey Lowe</n> for <n>Willow Defebaugh</n>'s newsletter, <n>The Overview</n>.

A digital illustration by Spanish artist <n>Alar Iko</n>.

The 2006 art installation <n>Desnatureza</n> by artist <n>Henrique Oliveira</n>.

The <n>Maraya concert hall</n> in AlUla, Saudi Arabia, designed by <n>Gio Forma</n>.

A spiraling <n>Datura</n> flower bud. Photo via <n>softworn.2023</n>.

A 1990 design by <n>Issey Miyake</n> photographed by <n>Irving Penn</n>.

Digital illustration <n>Büromarks</n> by artist <n>Daniel Morena</n>.

# In a world rife with unsolicited images, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn.

Typography with anything to say therefore aspires to a kind of statuesque transparency. Its other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.

An aerial photograph of <n>Parque Nacional dos Lençóis Maranhenses</n> by <n>Vania Passos</n>.