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Architype Renner
Architype Renner is a geometric sans-serif typeface reproducing the experimental alternate characters of Paul Renner's 1927–29 typeface Futura for the Bauer foundry. Renner's original design for Futura shows the influence of Herbert Bayer's experimental "Universal" alphabet. The alternate characters Renner proposed for Futura were mostly deleted from the face's character set, resulting in a more conventional, and perhaps more economically successful typeface. Alternate characters were drawn for lowercase a, g, and r, and for some punctuation, and uppercase characters including German accents. Both lining and text figures were produced. The Renner Architype typeface is one of a collection of several revivals of early twentieth century typographic experimentation designed by Freda Sack and David Quay of The Foundry. See also *Architype Albers *Architype Aubette *Architype Bayer *Architype Schwitters *Architype van der Leck *Architype Van Doesburg Architype Van Doesburg is a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sans-serif
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called " serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word , meaning "without" and "serif" of uncertain origin, possibly from the Dutch word meaning "line" or pen-stroke. In printed media, they are more commonly used for display use and less for body text. Before the term "sans-serif" became common in English typography, a number of other terms had been used. One of these outmoded terms for sans-serif was gothic, which is still used in East Asian typography and sometimes seen in typefac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Renner
Paul Friedrich August Renner (9 August 1878 – 25 April 1956) was a German typeface designer, author, and founder of the Master School for Germany's Printers in Munich. In 1927, he designed the Futura typeface, which became one of the most successful and most-used types of the 20th century. Renner was born in Wernigerode, and died in Hödingen. He had a strict Protestant upbringing, being educated in a 19th-century Gymnasium. He was brought up to have a sense of leadership, duty and responsibility. He disliked abstract art and many forms of modern culture, such as jazz, cinema, and dancing. But equally, he admired the functionalist strain in modernism. Thus, Renner can be seen as a bridge between the traditional (19th century) and the modern (20th century). He attempted to fuse the Gothic and the roman typefaces. Renner was a prominent member of the Deutscher Werkbund (German Work Federation). Two of his major texts are ''Typografie als Kunst'' (Typography as Art) and '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Futura (typeface)
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry (Bauersche Gießerei), in competition with Ludwig & Mayer's seminal Erbar typeface of 1926. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herbert Bayer
Herbert Bayer (April 5, 1900 – September 30, 1985) was an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer, and architect. He was instrumental in the development of the Atlantic Richfield Company's corporate art collection until his death in 1985. Biography Training and Bauhaus years Bayer apprenticed under the artist Georg Schmidthammer in Linz. Leaving the workshop to study at the Darmstadt Artists' Colony, he became interested in Walter Gropius's Bauhaus manifesto. After Bayer had studied for four years at the Bauhaus under such teachers as Wassily Kandinsky, Paul Klee and László Moholy-Nagy, Gropius appointed Bayer director of printing and advertising. In the spirit of reductive minimalism, Bayer developed a crisp visual style and adopted use of all-lowercase, sans serif typefaces for most Bauhaus publications. Bayer is one of several typographers of the period including Kurt Schwitters and J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bayer Architype
Architype Bayer is a geometric sans-serif typeface based upon the 1927 experimentation of Herbert Bayer. Bayer reacted to the Germanic use of capitalization for all nouns by abandoning uppercase. His new case combined characters based on the Carolingian minuscule with uppercase K rescaled to top-align on the mean line. The Bayer Architype typeface is one of a collection of several revivals of early twentieth century typographic experimentation designed by Freda Sack and David Quay of The Foundry. See also *Architype Albers *Architype Aubette * Architype Renner *Architype Schwitters *Architype van der Leck *Architype Van Doesburg Architype Van Doesburg is a geometric sans-serif typeface based upon a 1919 alphabet designed by Theo van Doesburg, a cofounder of the De Stijl art movement. The digital revival shown at right was produced by Freda Sack and David Quay of The Found ... References *Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. . *Fleischmann, Gerd. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Text Figures
Text figures (also known as non-lining, lowercase, old style, ranging, hanging, medieval, billing, or antique figures or numerals) are numerals designed with varying heights in a fashion that resembles a typical line of running text, hence the name. They are contrasted with lining figures (also called titling or modern figures), which are the same height as upper-case letters. Georgia is an example of a popular typeface that employs text figures by default. Design In text figures, the shape and positioning of the numerals vary as those of lowercase letters do. In the most common scheme, '' 0'', '' 1'', and '' 2'' are of x-height, having neither ascenders nor descenders; '' 6'' and '' 8'' have ascenders; and '' 3'', '' 4'', '' 5'', '' 7'', and '' 9'' have descenders. Other schemes exist; for example, the types cut by the Didot family of punchcutters and typographers in France between the late 18th and early 19th centuries typically had an ascending ''3'' and ''5'', a for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Architype Albers
Architype Albers is a modular stencil sans-serif typeface based upon a series of experiments between 1926 and 1931 by Josef Albers (1888–1976), German designer, educator and typographer. The Architype Albers typeface is one of a collection of several revivals of early twentieth century typographic experimentation designed by Freda Sack and David Quay of The Foundry. Albers studied art in Berlin, Essen, and Munich before enrolling as a student at the Bauhaus in Weimar in 1920. He began teaching in the preliminary course of the Department of Design in 1922, and was promoted to professor in 1925, the year the Bauhaus moved to Dessau. He taught there until the school was closed by the Nazis in 1933. Albers designed a series of stencil faces while teaching at the Dessau Bauhaus. The typeface is based on a limited palette of geometric forms combined in a size ratio of 1:3. Drawn on a grid, the elements of square, triangle, and circle combine to form letters with an economy of form. Ne ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Architype Aubette
The concept of an archetype (; ) appears in areas relating to behavior, historical psychology, and literary analysis. An archetype can be any of the following: # a statement, pattern of behavior, prototype, "first" form, or a main model that other statements, patterns of behavior, and objects copy, emulate, or "merge" into. Informal synonyms frequently used for this definition include "standard example", "basic example", and the longer-form "archetypal example"; mathematical archetypes often appear as "canonical examples". # the Platonic concept of ''pure form'', believed to embody the fundamental characteristics of a thing. # a collectively-inherited unconscious idea, a pattern of thought, image, etc., that is universally present, in individual psyches, as in Jungian psychology # a constantly-recurring symbol or motif in literature, painting, or mythology. This definition refers to the recurrence of characters or ideas sharing similar traits throughout various, seemingly un ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Architype Bayer
Architype Bayer is a geometric sans-serif typeface based upon the 1927 experimentation of Herbert Bayer. Bayer reacted to the Germanic use of capitalization for all nouns by abandoning uppercase. His new case combined characters based on the Carolingian minuscule with uppercase K rescaled to top-align on the mean line. The Bayer Architype typeface is one of a collection of several revivals of early twentieth century typographic experimentation designed by Freda Sack and David Quay of The Foundry. See also *Architype Albers * Architype Aubette * Architype Renner *Architype Schwitters *Architype van der Leck *Architype Van Doesburg Architype Van Doesburg is a geometric sans-serif typeface based upon a 1919 alphabet designed by Theo van Doesburg, a cofounder of the De Stijl art movement. The digital revival shown at right was produced by Freda Sack and David Quay of The Found ... References *Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. . *Fleischmann, Gerd. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Architype Schwitters
Architype Schwitters is a geometric sans-serif typeface based upon a 1927 phonetic alphabet designed by Kurt Schwitters (1887–1948). The digital revival, shown at right, was produced by Freda Sack and David Quay of The Foundry. Like many new experimental types to arise from the early twentieth century avant garde in Europe, Schwitters' type is an attempt to remake the Western writing system through reduction, and the abandonment of idiosynchronies. Schwitters proposed a monocase system, adopting a rectilinear interpretation of roman capitals, and contrasting these with six vowel alternate characters, A, e, J, O, Ü, and y scaled to the same height but based upon Carolingian lowercase. The vowel alternates, though primarily used for the short sound, are used somewhat indiscriminately in his print work. Unlike his contemporaries, Herbert Bayer, Theo van Doesburg, and Jan Tschichold all who produced experimental ''universal'' alphabets that rejected uppercase, Schwitters retained th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Architype Van Der Leck
Architype van der Leck is a geometric sans-serif typeface, based upon the 1941 typeface designed by Bart van der Leck for the Dutch magazine ''Flax,'' a journal of the De Stijl art movement. The face is geometrically constructed, and based upon an earlier stencil lettering alphabet van der Leck designed in the early 1930s for use in branding and advertising Jo de Leeuw's prestigious Dutch department stores Metz & Co. The face shares structural similarities with Theo van Doesburg's 1919 geometric alphabet, and anticipates later typographic explorations of geometric reductionism of Wim Crouwel's 1967 ''New Alphabet'' and early digital faces like Zuzana Licko's faces ''Lo-Res'' and '' Emperor 8.'' The Architype van der Leck typeface is part of a collection of several revivals of early twentieth century typographic experimentation designed by Freda Sack and David Quay of The Foundry. See also *Architype Albers * Architype Aubette * Architype Bayer * Architype Renner * Architype ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Architype Van Doesburg
Architype Van Doesburg is a geometric sans-serif typeface based upon a 1919 alphabet designed by Theo van Doesburg, a cofounder of the De Stijl art movement. The digital revival shown at right was produced by Freda Sack and David Quay of The Foundry. The face is constructed entirely of perpendicular evenly weighted strokes. Each character is based upon a square divided into a raster of 25 smaller squares. Van Doesburg's earliest uses of the alphabet was in limited quantity, made up of letterpress ruling pieces, and not as strictly formed as his more finished 1919 version. A similarly constructed rectilinear sans-serif typeface, designed in 1917 by Piet Zwart bears comparison. The face is similar to Van Doesburg's later 1928 alphabet designed for the Café Aubette in Strasbourg. Both faces anticipate later typographic explorations of geometric reductionism of Wim Crouwel's 1967 ''New Alphabet'' and early digital faces like Zuzana Licko's faces ''Lo-Res'' and ''Emperor 8.'' The A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
