Paul Renner was a painter, teacher, writer, and designer. Renner is most famous for his typeface, Futura. He also designed Plak, Futura Black, Licht, Futura Schlagzeile, Ballade, Renner Antiqua, and Steile Futura. Renner has also published several books on typography. These include “The Art of Typography”, and “Typography as Art”, which were used to set the guideline for sophisticated book design.
Paul Renner was born August 9, 1878 in Wernigerode, Germany. Renner studied architecture and painting. He worked as a painter in Munich, Germany. In 1907 he became Production Assistant and Presentation Manager for
George Muller Veslag. In 1925 he was head of commercial art and typography department at Frankfurter
Kunstschute. In 1926 he became
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He wanted high culture to be interested in objects as art.
Renner was close friends with another famous typographer named Jan Tschichold. Tschichold was the designer of the typefaces Transit, Saskia, and Zeus. They both became part of the ongoing ideological and artistic debates.
Paul Renner’s more notable work includes, typefaces Futura, Architype Renner, Renner Antiqua, and Ballade. He is most known for Futura.
Futura is a geometric sans-serif typeface. It was designed in 1927. Paul designed the typeface as a contribution to the New Franfurt project. It was based on geometric shapes that became represented of visual elements of the
Bauhaus design style. Futura was released commercially in 1936. Visually the typeface is very geometric and pre
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cise. Today it is still one of the most common sans-serif types. In the 1950’s it was used by the publishing industries as a general purpose font. The font is also used in advertising and logos. In 1997 the Pittsburgh Steelers switched to Futura Condensed on their helmets. Futura Black was released in 1936. The design uses stencil letter forms. It is most commonly found in Boston safety department. It was also used for the title sequence of “The Love
The Sculpture Plan by Karl Bitter, Director of Sculpture." Pan American Exposition: Buffalo 1901. (http://panam1901.bfn.org/documents/sculptureplan.html).
Born in Haag, Austria, in 1900, Herbert Bayer grew up in the period of the fast changing environment and technologically revolutionary years. After serving in the Austrian Army, he started studying architecture under Professor Schmidthammer in Linz, but in 1921, he enrolled as a student at the Bauhaus in Weimar, where he studied mural painting with Wassily Kandinsky. Bayer was later appointed by Walter Gropius to head the first printing and advertising workshop in Dessau. “Under Bayer’s charge, the newly installed workshop developed into a professional studio for graphic design and commercial art. The study of the communicative potential of letterforms and typographic layout was part of a basic curriculum in the mechanics of visual education. Such innovations as the elimination of capital letters, and the replacement of the archaic Gothic alphabet used in German printing by a modern “cosmopolitan” font, and the concept of composition based on strong geometrical elements and expressive values of colors, testify to a move away from individually handcrafted and traditionally shaped goods towards objects meeting functional requirements suitabl...
He is best known for his public art and making replicas of everyday objects. He is a realist and feels that art should relate to everyday life. Even though he took objects that someone would use daily and placed them out of context. For an example if the object was hard he would make it soft, if it was smooth he would turn it furry. Like an ice-cream sculpture he made out of fake fur. Or if it was small he would make the object huge. Oldenburg changed his style over the years. It included drawing, painting, film, soft sculpture, and large scale sculptures in steel.
rethought. It is one of the many ‘combines’ that Rauschenburg created during his and Jasper Johns fantastically influential period on the booming New York art world of the mid 20th Century.
Oursler is a native New Yorker and earned his Bachelor’s in Fine Arts at the California Institute of the Arts
Anselm Kiefer was born in Donaueschingen, Germany on March 8, 1945. In later years he became one of the most prominent figures in the Neo-Expressionist art movement. He studied law at the University of Freiburg until 1966. In 1966 he became an artist and was a student of Joseph Beuys who is another German artist (Safra pg.139).
Renner was born in 1878, and grew up in Wernigerode, Germany. He was a teacher, graphic designer, type designer and author. In 1926 he was a director at Munich’s Graphic Arts College, Later in 1927 he went on to become the director of the Munich Master Printers in 1927. He then wrote a book called Typography as Art in1922, he also wrote cultural Bolshevism in 1932.The Cultural Bolshevism later caused him dismissal from his directorship, because of the National Socialist Party. In his early studies Renner went on to explore different aspects of letterform that varied from the traditional roman form.
6. McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. [Toronto]: University of Toronto Press, 1962.
There were two main art schools in Switzerland that produced artist who would establish Swiss design style. These two schools were he Zurich School of Arts and Krafts and the Basel School of Design. Armin Hofmann taught at the Basel School of Design in 1947. As a designer, Hofmann liked visuals that were simple and structured. A lot of his work can fit into grids and his typography of choice is almost any sans-serif font. Hofmann’s main forms of print work are posters as visual communication. Colors used in his posters are monochromatic meaning, black, white, or gray. Geometric shapes and abstract visual forms are two other stylistic techniques that Hofmann used. Typography is a huge part of graphic design and Hofmann can be largely credited with the creation of new typography styles. The International Typography style is what Hofmann’s work is considered to be part of; Sans-serif fonts were his choice typography style and specifically the Helvetica font style came out of the Swiss art movement. Hofmann’s Basel Theatre Poster created in 1959 is a piece of work that really captures the Swiss or International Typography style. It is black and white in color and only uses san serif fonts. All elements are laid out organized in a grid form. There is a photograph used in this poster and it is designed to be abstract to the viewer, lacking visual detail and only simple forms and shapes. Another famous poster of Hofmann’s
The staff at the school included such art figures as Wassily Kandinsky, Joseph Albers, Laszlo Moholy-Nagy, Paul Klee, and Johannes Itten. Architectual figures at the school included Ludwig Mies van der Rode and Gropius himself. The only designer at the school was Marcel Breur. The staff members participated in one movement, the Arts and Crafts movement (Borteh).
John Heartfield was born as Helmut Herzfelde in Berlin on June 19, 1891. Heartfield parent’s abandoned him and his siblings and they spent their childhood with other relatives. He worked at a bookstore in Wiesbaden before going to school in Munich. Heartfield had a passion for painting so he went to school at the Royal Bavarian Art and Crafts School in Munich. He had a chance to learn from two commercial graphic designers Albert Neisgerber and Ludwig Hohlwein. After graduating from the Royal Bavarian Art and Crafts School in Munich he gained a lot of experience. Heartfield decided to have his own career as a commercial artist, starting off with designing book covers in Mannheim. Heartfield was still active in a school; he did most of his studying with artist Ernst Neumann in Berlin.
Typeface designer Adrian Frutiger was an exceptional designer who created some of today’s most used typefaces. Born 1928 in Interlaken, Switzerland. Frutiger is a well-versed designer who has worked in photographic and digital typesetting as well as designing typeface. He got his start by age 16 as a printer’s apprentice, and, after that, furthered his education at the Zurich School of Arts and Crafts. From 1948 to 1951 he studied sculpture and design, but his primary focus was calligraphy. After schooling, he worked for Deberny & Peignot in 1952. Frutiger has built a legacy that has changed the world of type. In his lifetime he has designed more than one hundred and seventy typefaces, many which have
Faure, Elie, and Walter Pach. History of art ... De luxe ed. Garden City, N.Y.: Garden City Pub. Co., 1937. Print.
Bayer, Herbert, Walter Gropius, and Ise Gropius. Bauhaus, 1919-1928. Boston: Charles T. Branford, 1952. Print.
When Sean talked to the rest of his friends from La Huerta, they would always mention the nightmares. If you got Jake drunk enough, he would talk about seeing Mike die over and over again, trading his life for Jake’s. When Sean and Craig were alone, he would talk about finding Zahra’s “dead” body in the cave, but then, she was really gone. Estela’s dreams were of her mother and Lila. Aleister’s were of his father. Everyone had their own version of catastrophic events that haunted them, but the one consistency was always Callie. Callie was by Jake’s side when Mike died. Callie had held Craig when he though Zahra was dead. Callie was sitting next to Estela when she watched the video of her mother being murdered by a woman she thought was her