In design, too, we move within a field of (often constantly changing) intentionality. Intention is a guiding principle of design. It runs through all techniques and areas of application, even if they are only present as distinct values. What are we designing for and why? It is a common misconception that we must be aware of ourselves in the process. As in geometry, this intentionality does not require a starting point, it is given, not by nature neither implicit but by design.

Since the advent of computer-aided work, type design can be considered the supreme discipline of vector design. Letterforms are stored as vectors, not as pixel images. A letter consists of mathematically described lines and curves, not of many small dots. The typeface designer tirelessly defines vectors, and even the smallest changes to them have an impact on the overall appearance like nowhere else. If we consider vectors in a broader sense, however, it is clear that this discipline already had an inherent vector logic before the introduction of computers and that this logic has been perfected in the computer age. Whether vectors, pixels or colour on paper or parchment: the line is intentional. And it is this intentionality of the curves that reveals the work.