Tyrone Pardue

I am fascinated by the power of empty space. Empty space controlled with the correct technique, and used in emphasis of or in counter balance to the space that is full, is beautiful. Swiss typographic design of the 20th century emphasized the use of white space to emphasize the beauty of the letterform and the tone of voice speaking through the text and graphics.

The great designers of the early to middle 20th century such as the Jan Tschichold (Swiss), El Lissitzky (Russian) and Paul Rand (American) all used the power of white space in their design to create a beautiful tension that served to emphasize the message itself. Tschichold, widely accepted as the father of modern graphic design, espoused the belief that graphic design and in particular, typographic design, should be purely functional and bring the utmost clarity to the content.

During this time, across the world in Japan, a Jujitsu master was refining

his martial-art based on the theory that all unnecessary movements, force and techniques should be stripped away. His art called Wado-Ryu emphasized the simple notion that you cannot hit what is not there, and thus the martial-artist simply moves out of the way using what is called Tai-Sabaki. To me this is the martial-arts equivalent of white space.

There is a very interesting passage in the Tao Te Ching (The Book of Changes) that speaks of the usefulness of what is not there:

Thirty spokes meet at a nave; Because of the hole we may use the wheel. Clay is moulded into a vessel; Because of the hollow we may use the cup. Walls are built around a hearth; Because of the doors we may use the house. Thus tools come from what exists, But use from what does not

Artists, graphic or martial, should consider the value of white space in everything they do.