The typeface was designed for use on posters and in large scale signs it was never intended to be used for text.Īlbers followed the theory of Die Neue Typographie, or "New Typography". The system was simple, easy to learn, efficient, cheap for production and expressed purity, regularity and simplicity. It consisted of the perfect harmony of circles, squares and rectangles and their combinations, to write any letters or numbers. He used 10 basic shapes drawn on a grid in a size ratio of 1:3. The Architype Albers typeface, designed by Freda Sack and David Quay, is a revival of the typographic experimentation of Bauhaus Professor Josef Albers.Īlbers produced sketches for geometrically constructed, universal, sans-serif, stencil typefaces the “Kombinationschrift” alphabets. It must present precise information in a suggestive form… For legibility, the message must never suffer from a priori aesthetics.” They believed: “Typography is an instrument of communication. Bauhaus Master Instructors, 1926: From left, Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer.īauhaus typography was typically unadorned and clean san-serif types and strong horizontalĪnd vertical rules were characteristic.
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