Wolfgang Weingart by Nay Suzuki

Created By: Naomi permata Suzuki 1701319893 04PAD Typography III

W O L

A book that will feast

stunning artwork from the king of Typography Wolfgang Weingart, who is one of the most well-known typography /Graphic Design untill now.

G A

your eyes with various

“

The Berthold’s

Akzidenz Grotesk font is all he really needs 3

because it is a little bit ugly. It has character and its monumental ,

“

strong, direct.

conÂˇ tent \\

Bibliography

pg.9-12

1970s // Early Career

pg.13-20

1980s // Post Modernism

pg.21-26

Contents

WeingartĂ s workplace

pg.27-28

T N S

1990s // ĂŤtill now

pg.29-32

A NYO N E WHO 7

USES

H E LV E T I C A KNOWS

N OTH I N G ABOUT TYPEFACES -

W O LF G A N G

W E I N GA RT

bib·lio· gra·phy \\

N A

born in

9 41

SALEM VALLEY, GERMANY

B i b i l i o g ra p h y

He enrolled in a two-year course in applied art and design a the Merz Academy in Stuggart in

1 5

9 8

19 60

There he discovered the school printing facilities and, at the age

Where he familiarized himself

of 17, see metal type for the first

with typesetting and the process

time.

of making linocuts and woodcuts. After this he trained as a typesetter and discovered Swiss typography. After graduating, in

1 64 9

he undertook a rigorous

apprenticeship as a typesetter at Ruwe Printing in Stuttgart, where he met house designer Karl-August Hanke,a former student at the Basel School of Design.

It was Hanke who became a mentor to the young Weingart, introducing him to design being done outside of Germany, particularly in Switrzerland, where Ruder, Armin Hofmann, and Karl Gerstner were making work that would come to be referred to as International style.

Top picture (from left to right): picture of Basel School of Design, Hans Arp, Emil Ruder and Armin Hofmaan at the Basel School of Design in 1961.

B i b i l i o g ra p h y

One of WeingartĂ s artwork in

19 62

kunstdruck. graphik, antiquariat, bucher, 1962 museum fur gestaltung zurich, graphics collection

1970s Â· early career

Typograhic Process, Nr 3.Calender Text Structures Typograhic Process, Nr 4. Typographic Signs

1971-1972, Lithograph, 34 1/2 x 24 1/4”

ì enfant terribleî of modern Swiss typography.

1971-1972, Lithograph,

As early as the mid-1960s he

34 1/2 x 24 1/4”

began to break the established rules. He liberated letters from the corset of the right angle, spaced, underlined or reshaped the, and reorganised Wolfgang Weingart

typesetting.In the 1970s he

revolutionised modern Swiss

began to translate halftone film

typography and in doing so wrote

comprehensive exhibition in

into colleges, in this way

international design

Switzerland of this designerí s

anticipating the digital

history. The Museum f¸ r

work and teaching. Wolfgang

sampling of the post-modern

Gestaltung presents the first

Weingart is regarded as the

ì New Wave.î

1970s Typograhic Process, Nr 2. Poster Structure

In the 1970s he began to

Typograhic Process, Nr 1. Poster

translate halftone film

Structure

into colleges, in this way anticipating the digital sampling of the post-modern ì New Wave.î As a typography teacher at Schule Fur 14

Gestaltung

1971-1972, Lithograph,

Basel Weingart shaped

34 1/2 x 24 1/4”

several generations of designers from 1968 onwards.

1971-1972, Lithograph, 34 1/2 x 24 1/4”

Weingart has been teaching

and lectured at schools out

and his work is represented in

typography at the Basel School

Europe, North America, South

several permanent collections. he

of Design since 1968. He has

America, Australia, New

has received many design awards

also taught at the Yale Summer

Zealand and Asia. Weingartí s

from the Swiss Government.

Program in Graphic Design/

work has been exhibited in

Brissago with Armin Hoffmann

numerous museums and private

from 1974 to 1996. For over

galleries around the world,

thirty years, Weingart has taught

When speaking of his teaching at Basel, Weingart prefers to explain his approach to teaching typography as being about the.....

“process of learning rather than the philosophy of teaching.” 15

Weingart believes that the process of creating type should include an exploration of all typography so that

“the careful observer will see that serious care, critical judgment and visual sensitivity” are the highest priorities in the design process.

1970s

WeingartĂ s artwork in

19 70s

Reflection 1973, Museum fur gestaltung zurich, poster collection

1974/1975, museum fur gestaltung zurich, graphics collection

the new graphics

nine collages:

While teaching, Weingart continued to produce a formidable body of experimental work in his own right: posters as well as cover designs and call-for-entry designs for Typographische Monatsblâ&#x20AC;°tter magazine, where he served on the editorial board from 1970 to 1988. A 1976 poster he designed and printed for photographer John Glagola includes wide silver bars printed across the artistĂ s name, heralding the decline of foundry type

schmuck.

as a viable commercial means of printing. sonderschau auf der mustermesse basel, 1976, museum fur gestaltung zurich, poster collection

1970s

Weingart insistently sought new ways of creating images, adopting the halftone screens and benday films used in photomechanical processes as his new tools beginning in the mid-1970s. He used the repro camera to stretch, blur and cut typeรณ a radical new approach for marrying continuous-tone images and letters. He

would boast that his design process relied solely on these film manipulations and overlapping colors, seen perhaps most strikingly in his work for the Basel Kunstkreditรณ black-and-white world-format posters designed between 1976 and 1980 and 1983.

kunstkredit

1979 and a series of color posters made between

1978/1979, museum fur gestaltung zurich, graphics collection

kunstkredit

1978/1979, museum fur gestaltung zurich, graphics collection

1970s

E T G A H

YPO R P Y

is a triangular relationship between DESIGN AND IDEA, TYPOGRAPHIC ELEMENTS, AND PRINTING TECHNIQUE.

W O LF GANG WEIN G A RT 1974

post modern \\

1980sÂˇ

During the 1970s and into the early 1980s, interest in the International Style began to fade. Weingart, along with his former teacher and now co-worker Hoffmann, started to break away from this traditional style and helped to bring about what is now referred to as Postmodern design.

19 8 0s

Leaving the world of metal typesetting behind to explore photo typesetting, Weingart began to play with offset printing

Through his

techniques which

experimentations,

allowed him to create

Weingart was

intricate textures and

inventing his own visual

patterns with type and

language. As former

image using layers of

teaching colleague

film. His willing

Gregory Vines once

experimentation with technique and design

wrote: â&#x20AC;&#x153;He pursues an idea until he is sure if it works

brought him into the

or not. In the manner of Gutenberg, typesetter,

limelight.

printer and inventor Weingart realizes his publications or posters from beginning to end by himself. He chooses to be involved in the entire process, from the concept to preparation of the film montage for the printer....When looking through the copy camera or while developing film, new ideas and possibilities become evident, even mistakes trigger fascinating possibilities.â&#x20AC;?

Lloyd Miller, who studied with Weingart in the early 1980s, notes, “He is a master and pioneer in this field.... Weingart’s working method was very much a precursor to the layering capabilities software programs [like Adobe Illustrator and Photoshop] would eventually offer.”

Still, Weingart never forgot his intensive training and

experience in the intricacies of hand-setting type. He brought fascinating clarity and structure to dense, complex information found in the 1974 Creative Jewelry brochure and the 1980 catalog for Art Basel.

Through his investigations, he even sought to capture the spontaneity and vigor of his own deliberately distorted handwriting as a form of typography, in posters announcing his 1990 retrospective exhibition at the Institute for New Technical Form in Darmstadt, Germany.

kunst gewerbe

19 8 0s

museum zurich 1981, museum fur gestaltung zurich,

poster collection

herbert

WeingartĂ s

work bayer 1982, museum fur gestaltung zurich, poster collection

in 1980s

kunstkredit 1982/83, museum fur gestaltung zurich, poster collection

kunstkredit 1982, museum fur gestaltung zurich, poster collection

19 8 0s

the 20th century poster 1984, museum fur gestaltung zurich, graphics collection

the swiss poster 1983/84, museum fur gestaltung zurich, poster collection

W O

We i n g a r t â&#x20AC;&#x2122; s w o r k p l a c e

workplace

1990s â&#x20AC;&#x2DC;till now

From 1968 to 1999 he taught typography in the Advanced Class for Graphics there and, until 2004, at HGK Basel. Weingart also held summer courses in Brissago (Yale Summer Program in Graphic Design) and from 1972 onwards gave lectures throughout the world, frequently in the USA where most of his students came from.

Weingart was a member of the AGI from 1978 to 1999 and in 2000 he

published a comprehensive autobiograhphy, which is to be

reissued by Lars Muller publishers.

Weingart has received several awards for his lifework: in 2005 he awarded an honorary doctorate in fine arts by Massachusetts College of Art & Design in Boston, in 2013 the Aiga Medal.

19 9 0s

For over four decade Weingart has extensively taught and delivered lectures across Europe, Asia, New Zealand, North and South America, and Australia. According to him, he never influenced his students to adopt a certain type of style, especially his own. However, his students misunderstood his teaching as his own style and spread it around as ‘Weingart style’.

A retrospective of Weingartí s work was mounted by The Museum of Design in Zurich from May to September in 2014. The exhibition, Weingart: Typography, was the first one to showcase his personal work along with the product of his teaching. Weingart wrote a retrospective book on typography, which Lars M¸ ller Publishers Furthermore, several designers, Knapp, Susan, Hofmann, Dorothea, Michael, collaborated on

compiled in a volume in ten sections, Weingart: Typography ññ My Way to Typography, in 2000.

Weingart: The Man and the Machine. The book, published by Karo Publishing in 2014, is comprised of statements by 77 of Weingartí s students at the Basel School of Design during the period 1968ñ2004. The American Institute of Graphic Arts recognized his creative genius and for his typographic explorations and teaching awarded him the highest honor of the design profession, AIGA Medal, in 2013. The following year the Federal Office of Culture presented him the Swiss Grand Prix of Design award. He was nominated for the award for his life-long merits as a designer.

fabrica treviso 1998, museum fur gestaltung zurich, graphics collection

19 9 0s

oes war einmal und ist nicht

mehr (bisher)

1990, museum fur gestaltung zurich, poster collection

Reference lists //

http://www.aiga.org/medalist-wolfgang-weingart/

http://www.typetoken.net/publica-

http://www.moma.org/collection/artist.

tion/wolfgang-weingart-weingart-typography-museum-of-design-zurich

php?artist_id=6289

R e f e re n c e

https://www.typographicposters.com/wolfgang-weingart/

http://jenniferfidler.com/images/wolfgangweingart.swf

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http://www.famousgraphicdesigners.org/wolfgang-weingart

http://keithtam.net/writings/ww/ww.html

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