![]() ![]() ![]() If you want to understand this typeface, this book cannot be better, from its inspirational roman capital origins to its vital role in introducing the Bauhaus to America during the 1938 Katalog Bauhaus show at MoMA, not to mention facsimile proofs of Renner’s typefaces dating between 19. But they couldn’t be any different, which is a testament to the typeface’s legacy.įutura: The Typeface is a staggeringly impressive catalog that shares a name with an exhibition at the Gutenberg Museum in Mainz. Ostensibly both books are about the same thing-Futura. Two new books have been published on the occasion of this momentous 90th anniversary. Jost credited Renner for being wise enough “not to sacrifice the knowledge gained from tradition for the sake of new dogma.” And so, in 1927, Futura was released. ![]() Renner reached out to Heinrich Jost, one of his former students who had been appointed artistic director of the Bauer Type Foundry, establishing a legendary partnership in which Renner’s artistic inspiration was refined in order to cast legible type. It was the new age of machine art and in the summer of 1924, Siegfried Buchenau and Jakob Hegner challenged Renner, already an established and respected type expert, to design the “typeface of our time.” As Petra Eisele, a professor of design history and design theory, writes of Renner’s brief: “The aim was to discard the weight of history by concentrating on abstract forms and rethinking design from the ground up.” Paul Renner composed his initial designs for Futura in 1924 and he was not so different than his Bauhaus-inspired contemporaries and their preoccupations with the mechanical precision of circles, squares, and triangles. ![]()
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