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Introduction |
History | Technology |
Theory |
Legibility |
Graphic Design |
Conclusion |
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The forms of the “New” New Typography are at the fore
of blurring the lines between graphic design and fine art. These typographic
experimentations did not start on their own but took their cue from the innovations that
took place in the world of fine art at the turn of the century. Many of these
“fine” artists of the avant-garde worked commercially. The proponents of
Futurism, Dada, Constructivism, De Stijl, etc. moved freely between painting and book
design as well as advertising. Just as Futurist
painters attempted to bring movement to the two-dimensional space so too did the
Futurist poets who, through typographic innovation, tried to bring movement to their
words. They broke from the traditional vertical and horizontal structure of the page,
setting it in motion. In his poster for the New Futurist Theater Company, the painter
turned designer, Fortunato Depero, illustrated how the use of flat planes of vibrant color,
diagonal composition and angular repetitive forms contribute to a dynamic page
layout. |
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