Sunday, July 5, 2015

Font Design for Business Lighted Letters Irvine, Ca.

Font Design for Business Lighted Letters Irvine, Ca.

At the Bauhaus, a thorough analysis of visual communication began with an examination of the alphabet. In German, there were special prob­lems: the prevailing style for text was black letter, whose archaic form clearly did not belong to the machine age. A more radical approach was taken to the use of capitals for the initial letters of nouns. A footnote which appeared on the Bauhaus letterhead designed by Herbert Bayer in 1925 stated the school's attitude uncompromisingly: towards a simplified way of writing

  1. this is the way recommended by reformers of lettering as our future letterform. cf. the book lsprache undschrifi1 [speech and letterform] by dr. porstmann, union of german engineers publishers, berlin 1920.
  2. in restricting ourselves to lower-case letters our type loses nothing, but becomes more easily read, more easily learned, substantially more economic.
  3. why is there for one sound, for example a, two signs,

A and a? one sound, one sign, why two alphabets for one word, why double the number of signs, when half would achieve the same? Font Design for Business Lighted Letters Irvine, Ca.

The attempts made at the Bauhaus and elsewhere to devise new letter-forms all had a strict geometric base. Geometry was the basis to a func­tionalist shunning of Renaissance designs, Fraktur and the Germanic craft tradition of heavy calligraphic typefaces, like Rudolf Koch's Neu-land of 1924, where the mark made by a craft tool, rather than an imposed formal idea, determined the design.

business lighted letters irvine, ca

Koch followed Erbar, a geometrical typeface of the early 1920s, in his Kabcl (Cable) which appeared at the same time as the most popular of the new sans-serif types, Futura, in 1927. The Bauhaus teachers Josef Albers and Joost Schmidt worked on a number of alphabets, but Bayer applied himself most consistently. Like the others, his Universal (1926) is constructed from circles and straight lines of a constant thickness on a grid of squares, for a Font Design for Business Lighted Letters Irvine, Ca.

The first declaration of the aims of this 'New Typography' (as it was soon called) stated no preferred style of type. 'We use all typefaces, type sizes, geometric forms, colours, etc,' wrote Laszlo Moholy-Nagy, in 1923. Moholy-Nagy, a Hungarian painter, had arrived to teach at the Bauhaus only months before it opened its doors to the public during the summer of that year with an exhibition explaining its aims and achieve­ments for the designs of  Font Design for Business Lighted Letters Irvine, Ca.

These were also set out in a book, Staatliches Bauhaus in Weimar igig-ig2j, where Moholy-Nagy's statement appeared, and whose design demonstrated the new approach. The cover was filled with the title, drawn in sans-serif capital letters by Bayer. The inside pages, designed by Moholy-Nagy, made free use of white space and black rules which, in the contents pages, were used as huge Roman numerals.

One of the visitors to the Bauhaus exhibition was a young calligraph-er and book designer who taught in the Academy in his home town of Leipzig, centre of the German book-printing industry. Jan Tschichold was to become the chief propagandist for the New Typography, begin­ning in 1925 with elementare typographic, a special issue of the trade jour­nal Typographische Mitteilungen. This was planned as a Bauhaus issue but included the work of non-Bauhaus designers, particularly Lissitzky. Tschichold elaborated ten 'elementary' (meaning 'basic') principles, beginning with:

  1. Typography is shaped by functional requirements.
  2. The aim of typographic layout is communication (for which it is the graphic medium). Communication must appear in the shortest, simplest, most penetrating form.
  3. For typography to serve social ends, its ingredients need internal organization – (ordered content) as well as external organization (the typographic material properly related).

He went on to stress the importance of the photograph; of sans-serif types as the most correctly 'basic' – although he admitted the legibility of Renaissance Mediaval-Antiqua typefaces; the importance of the reprinted areas of paper; the possibility of lines of type set obliquely or vertically; the adoption of standardized DIN (Deutsche Industrie Normen) paper sizes, such as A4 for writing paper; and the rejection of all ornament other than squares, circles and triangles, and then only if these were rooted in the overall construction. Tschichold developed and refined his theme in the most important single document of the Modern Movement – his book Die neue Typographic, published in 1928.

At this time Tschichold was teaching in Munich at the printing school under Paul Renner, designer of the Futura typeface, where he was joined in 1929 by Georg Trump, designer of the odd City type (1930). This tri­umvirate perfected a functional modernism in jobbing printing, partic­ularly in ranges of stationery designed like forms to be completed by the typewriter. Tschichold's cinema posters, lithographed in two colours, were mainly abstract compositions with hand-drawn lettering, often arranged diagonally, with a single small photograph, often circular.

The most interesting of these is Laster der Menschheit (Man's Depravity), show ing the star Asta Nielsen filling almost a third of the poster in the top right-hand corner. Her photograph appears as though on a cinema screen, which is suggested by lines radiating from the bottom left of the design; these lines define the corner of the screen, and the film title highlights and name of the cinema are angled in the same perspective as the screen. It exemplifies, almost caricatures, Tschichold's aim to derive the graphic elements from the content, not only advertising the star and the indi­vidual film, but also exposing the general nature of film as an enlarged, projected image. Font Design for Business Lighted Letters Irvine, Ca.

The Screwtape Letters: C.S. Lewis' Novel on Stage, Starring Max McLean. Irvine Barclay Theatre, (4242 Campus Drive Irvine, CA 92612). Full Price. $52.00 – $62.00. Our Price. SOLD OUT. 44 Stars Share this event. Not yet rated….via Irvine Barclay Theatre The Screwtape Letters – Goldstar

Join us in our national “Letters From Home” campaign April 19th-May 18th where kids and adults will be writing letters to our deployed troops in attempt to break the Guinness Book of World Records for “most letters written to military … letters, please fill out this statement for every 50 letters! Guinness World Records Attempt Statement. Mailing Address: Team Kids 15375 Barranca Pkwy, E-103. Irvine CA, 92618. This entry was posted in Founders Blog on April 1, 2015 by Julie Hudash….via Letters From Home | Team Kids

(Associated Students of University of California Irvine (ASUCI)) Bans American Flag from 'Inclusive' Space(Associate student lobby space).” ….. Dan Rather would have smeared George Bush with a fake Naval reserve letter….via UC Irvine didn't ban the flag, but that may not be what you read



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