Catálogo Tipográfico by Ana Coutinho

EXPERIMENTAL FONTS XX CENTURY POSTERS TYPOGRAPHIC CATALOG

Designer Print Catalogue Font Bibliography

Ana Curro Coutinho Obigraf Artes Grรกficas LDA Univers LT Std Heitlinger Paulo. Alfabetos: Caligrafia e Tipografia. Dinalivro. Setembro de 2010. Friedl Friedrich, Ott Nicolaus, Stein Bernard. TYPO: when who how. KONEMANN, 1998. Fontfeed.com Adobe.com Identifont.com Myfonts.com Linotype.com Fontshop.com

TIPOGRAFIA III ESCOLA SUPERIOR DE ARTES E DESIGN DECEMBER 2011

This theme will bring us the most amazing journey about experimental typography with a few histories inside. Nowadays, we have such a variety of types and seems that we donâ&#x20AC;&#x2122;t have anything more to create. I think knowing the history and development of types is one interesting point to bring to the table.

â&#x20AC;&#x153;A decorative art that do not decorate, but organize life.â&#x20AC;? El Lissitzky

NO MORE RULES

Breaking rules is good common denominator to describe a whole series of graphic works made â&#x20AC;&#x2039;â&#x20AC;&#x2039;in the twentieth century. This catalog portrays some of the fonts developed, based on renewal, revolution and experimentation, but little concerned about getting legitimized by its functionality. The Deconstruction, Dadaism, De Stijl, the Bauhaus, Russian Constructivism and Italian Futurism give rise to the posters which in turn originate this catalog.

MERZ

Style Dadaism Type Foundry FontHaus Classification Sans- Serif Used Posters

1915

Freedom of speech claimed by the protagonists of the Dada movement was brought to typesetting. Resulting collage of elements in poetic connection, boldly mounted in all directions, using different font types and bodies, showing first the visual impact of text fragments located outside conventional norms and standards. It is necessary to understand his work as a set of varied productions necessarily linked by a strong common denominator: their (ever-changing and experimental) design aesthetic. Merz was the personal Dada of Schwitters.

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Regular 20 pt

CONSTRUCTA

Style Dadaism Type Foundry Font Bureau Classification Slab- Serif Used Posters and Titles

1920

The straight-sided form of condensed Geometric slab-serif, Constructa provides a stronger and more geometric form than the customary designs of 1920. This crisp series is based on Morris Fuller Benton’s lone font. The three weights of Constructa provides a truly useful serie for any contemporary designer.

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Regular 13 pt

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Black 12 pt

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Thin 14 pt

Construtivist

Style Construtivism Type Foundry P22 Classification Sans-Serif Used Posters and Titles

1920

P22 Construtivistis a constructivist font based on the characters used by Rodchenko in their posters. This artistic movement started in 20’s and was strongly influenced by the first world war. That fact is a major contribution at the level of types for experimental geometric fonts of the twentieth century. This was considered a form of presentation to be developed for social purposes. El Lissitzky was also marked this decade both conceptually and typographically.

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Cyrillic 10 pt

ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 ,;:.-

Regular 10 pt

vanderleck at

Stile De Stijl Type Foun dry Architype Classification Geometric Sans- Serif Used Posters

1922

After World War I there was a turning away from old forms and philosophies among architects and designers, just as there was among artists and writers. Many of the same abstract ideas came into play, as did ideas that incorporated the “machine” aesthetics of the new industrial age. In fact, one of the important trends of the 20th century would be the increasing parallels between art and design, which had been separated since the end of the renaissance. In the early 1920’s a group of archi-

tects and artists, influenced by some of the ideas of Dadaism, formed a movement called de Stijl (Dutch for The Style). Theirs was a utopian philosophical approach to aesthetics, centered in a publication called de Stijl, which presented their ideas and designs. Vanderleck AT is an example of a straight and simple font that reflects their functional and geometric ideias and an homenage to Bart Van der Leck, a dutch artist.

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Regular 8 pt

vandoesburg

Stile De Stijl Type Foundry Architype Classification Geometric Sans- Serif Used Posters and Titles

1922

Architype Van Doesburg is a geometric sans-serif typeface based upon a 1922 alphabet designed by Theo Van Doesburg, a co-founder of the De Stijl art movement. The primary principle of this movement was to create ultimate simplicity and abstraction. The stylistic characteristics represented in the De Stijl journal were the “stripping down of the traditional forms of architecture, furniture, painting or sculpture into simple ‘basic’ geometric components, a studied and sometimes extreme asymmetry of

composition or design, only using ‘orthogonals’ (horizontal and vertical lines) and the exclusive use of red, yellow, blue, white, grey and black. The journal itself did not use much color, if any, but it did follow the other typographic principles. This font is a translation of his ideas in geometric and functional form.

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Regular 14 pt

P22 albers

Stile Bauhaus Type Foundry FontHaus Classification Sans-Serif Used Posters

1926

design style that favored simplicity. However, unlike Arts and Crafts, Bauhaus embraced technology, new materials and the mass production of furnishings and fixtures. This Josef Albers’s font brought us some os their spirit of functionality and form.

The Bauhaus, an architectural school founded by Walter Gropius in 1918, introduced a design principal that would dominate architecture and interior design for the rest of the century: form follows function. The school principles quickly caught on in the international design community, becoming strongly influential in architectural design. Bauhaus immerged as a post war

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One, 11 pt

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Two, 12 pt

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Three, 10 pt

Bayer font 1929

Stile Bauhaus Type Foundry TrueType Classification Sans-Serif Used Posters

Bayer Sans, is based on the typography of the Austrian-born artist Herbert Bayer. Bayer worked as a teacher and graphic designer at the Bauhaus during the 20’s. His specialty was commercial art and he had many radical views on typography and its interaction with society. Bayer felt that written language should be merely a graphic version of spoken language. Thus, he advocated a single alphabet without majuscules and minuscules. Bayer’s designs are simple, geometric letterforms that lend themselves to lowercase form. Between 1929 and 1943, »die neue

linie« (»the new line«) was published by the Beyer-Verlag, Leipzig, as the prominent lifestyle magazine of its time. No other magazine implemented the ideas of typographic Modernism in such a consistent way. Leading graphic designers from the Bauhaus such as Herbert Bayer formed the appearance of the publication. Modern typography, clear forms, ornament-free letters and dynamic diagonals gave it a striking appearance. The contents lifted »die neue linie« to a superior level.

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Regular 10 pt

baby teeth

Stile Futuristic Pop Art Type Foundry TrueType Classification Sans-Serif Used Posters

1964

Milton Glaser called the typeface he developed for his 1966 Bob Dylan poster “Baby Teeth.” The stair-step— so-called because of the setbacks in the E—was an emblematic face during that period, but the alphabet actually derives from a Futurist typeface used in advertising and propaganda in Fascist Italy during the 1920s and ’30s. It was sometimes labeled “Futurist” or “Futuristic” in type catalogs at the time, representing both speed and the mechanistic aspects of modernity.

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Regular 14 pt

Stile Psychedelic Design Type Foundry ArchiType Classification Sans-Serif Used Posters

new alphabet 1964

New Alphabet is a personal, experimental project of Crouwel. The typeface embraces the limitations of the cathode ray tube technology used by early data display screens and thus only contains horizontal and vertical strokes. Conventional typefaces can suffer under these limitations, because the level of detail is not high enough. Crouwel wanted to adapt his design to work for the new technologies, instead of adapting the technologies to meet the design.

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Regular 15 pt

Stile Psychedelic Design Type Foundry ArchiType Classification Geometric Sans-Serif Used Posters

Stedelijk 1968

The task of the designer consists of analysing the design project and solve the problems he distilled in an objective way. The message and the way it should be presented flows out of this process. Graphic design is a wide field in which Crouwel mainly focussed on type. He works quite constructive, constructs type, and works on grids. Crouwel is especially admired for his systematic approach and his creative handling of the shape of letters. His work was influenced by the pre-war Werkmann and post-war Sandberg, an individualistic generation of typographers who dared to juggle with letters.

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Regular 16 pt

AVANT GARDE

Stile Modernism Type Foundry ITC Typeface Classification Neo-GrotesqueSans-Serif Used Posters, Logos

1968 Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avantgarde movement and still continue to do so, tracing a history from Dada through the Bauhaus to postmodern artists. Avant Garde was created in the late 1960s as the logo for the

short-lived, but highly influential magazine, Avant Garde. As art director, Herb Lubalin devised the logo concept and its companion headline typeface. The result was a typographic force. Lubalin and the magazine’s publisher received frequent and numerous requests to release the typeface for general use, but it remained the exclusive property of the magazine until 1970.