typography
Option 3- Typography
Bauhaus movement
Typography is to make language visible by using techniques of arranging type with
Artistic effect. The new form of typography was formed in 1923, it began in Russia and Holland and Crystalized at Bauhaus. During twentieth century typographical world gained a graphic expression, it enabled the designers to vision and develop functional and expressive visual communication, where as the old typography constrict creativity.
During 1900s the traditional typography and text is created to be able to read, understand and visually satisfying the reader, The practical fields of typefaces were restricted to little and mixed printed matters, therefore a new form of typography was needed to allow the designers to make typography to be the main communicational medium to express their thinking. During Post World War in Germany a new art school called “Bauhaus” was formed; they stated that they make this art school to move towards the better integration of art and technology for the benefit of the both.
The Hungarian constructivist Laszio Moholy-Nagy was the head of the preliminary course at Bauhaus. He contributed an important statement about typography, describing it as “a tool of communication. It must be communication in its most intense form. The emphasis must be absolute clarity…legibility- communication must never be impaired by an a priori aesthetics. Letters must never be forced into a preconceived framework, for instance a square.” In graphic design, he supported that all human being use all typefaces, type sizes, geometric forms,colours,etc, if a new language of typography is formed where the typographical composition is flexible, variable ,and fresh. Because of Moholy-Nagy ‘s passion for typography, the Bauhaus started to be interest in visual communications and this led to important experiments in the unification of this typographic art. Former student Joost Schmidt(1893-1948) at Bauhaus did not follow the strict
Bauhaus movement
Typography is to make language visible by using techniques of arranging type with
Artistic effect. The new form of typography was formed in 1923, it began in Russia and Holland and Crystalized at Bauhaus. During twentieth century typographical world gained a graphic expression, it enabled the designers to vision and develop functional and expressive visual communication, where as the old typography constrict creativity.
During 1900s the traditional typography and text is created to be able to read, understand and visually satisfying the reader, The practical fields of typefaces were restricted to little and mixed printed matters, therefore a new form of typography was needed to allow the designers to make typography to be the main communicational medium to express their thinking. During Post World War in Germany a new art school called “Bauhaus” was formed; they stated that they make this art school to move towards the better integration of art and technology for the benefit of the both.
The Hungarian constructivist Laszio Moholy-Nagy was the head of the preliminary course at Bauhaus. He contributed an important statement about typography, describing it as “a tool of communication. It must be communication in its most intense form. The emphasis must be absolute clarity…legibility- communication must never be impaired by an a priori aesthetics. Letters must never be forced into a preconceived framework, for instance a square.” In graphic design, he supported that all human being use all typefaces, type sizes, geometric forms,colours,etc, if a new language of typography is formed where the typographical composition is flexible, variable ,and fresh. Because of Moholy-Nagy ‘s passion for typography, the Bauhaus started to be interest in visual communications and this led to important experiments in the unification of this typographic art. Former student Joost Schmidt(1893-1948) at Bauhaus did not follow the strict
References: Bertin, Jacques, Semiology of Graphics: Diagrams, Networks, Maps [William J. Berg, translator, 1983] Cheatham, Frank R., Jane Hart Cheatham, and Sheryl Haler Owens, Design Concepts and Applications