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Introduction |
History | Technology |
Theory |
Legibility |
Graphic Design |
Conclusion |
| In comparison to the typography of today, through which designers are attempting to expand the normal pretense of the letterform, the designers who worked at the Bauhaus during the 1920's and 1930's looked at a new and ever-changing society and decided that the present form of the letter was possibly no longer valid. There was a drive for simplicity, clarity and humanity that ran through all of these designers work. They looked beyond the traditional utilitarian view of typography and were designing with absolute clarity in mind. They seemed disconcerted with the salability of their experimentation rather were more interested in searching for much more universal truths connecting the written word and the spoken word along with the growing industrial nature of their contemporary society. |  |
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But when the “look” of Modernism was appropriated by industry and named the International Style, it lost its moral authority. The letterforms of the past had no place in this modern industrial society where the machine was king. If we project this idea into the post-modern era, the posters that accompany the experimental typeface designs in Fuse magazine, which started distribution in 1990, highlight how letterforms might once again become objects of beauty and inspiration rather than the tools of commerce. | |||