Post 2: Modern

This title page is, for me, a very inspiring piece of modern typography. What looks to be a geometric typeface is arranged in such a simplistic manner that the hierarchy of the text is clear. The abundance of white space makes what little text is actually on the page more prominent and readable, despite the small point size. The offset faux-spine is completely free, the only element crossing it being the subject of the book's name. The work of Josef Albers, who appears to be part of the Bauhaus movement himself, directly inspires this successful page layout.

Madison Hanlon

Blog 3:

This is a 1923 poster postcard for the Bauhaus Exhibition Weimer. I love the typography used, it has a clean handwritten style to it. I also like how the type works with the lines and shapes, it has a very chaotic but flowy feel. The lines match the objects width just enough that the words don't get lost. I would like to play more with clean handwritten typography. I believe its a good way to catch viewers attention because it seems like now a days all that we see is computer baised font. It would be nice to include more fonts that are less computer generated and more free flowing.

Brooke Garner

I researched from the AIGA website under inspiration and Armin Hofmann came up on my page, so I further researched some of his work. The poster above, die gute form, shows strong typographic elements from Swedish designer, Armin Hofmann. This style emerged in the 1950’s and became known as the International Typographic Style. Armin Hofmann is known for challenging students to strip away what they know, or think they know, and start all over again with their typographic studies. The poster was for cultural clients such as Kunsthalle Basel and the Stadtheater Basel.

The sense of structure and space, which makes sense being that, die gute form, means, “good design.”

The type is a san serif, and is in a flush left, ragged right format. However, I find it a little odd that the smaller text toward the bottom left of the poster is flush right, ragged left. The poster still seems balanced, simple and visually pleasing as far as the form it makes and the placement on the page. Our eyes can easily fill in where part of the letterforms have been subtracted, which I think is important when wanting our type design to be legible. I like that the poster includes only black and white. Also, I enjoy the use of negative space that fills the small gaps between letters, which help create a dramatic effect and focus on the type form. I hope to reference Armin Hofmann’s design work and be able to create simple, purposeful expressions of form when dealing with type. I will use this resource to remember the structure of letterforms and to try and keep a balance for my future designs.

Jessica Prohl

I had already done a Bauhaus photo last time. I found this bottle today and decided to buy it. I really like the type choice they used on the label; it looks hand rendered and fits the illustration. The engraved part of the glass also really completes it. The "Fruit Punch" choice is a little cheesy, but the rest is nice.

This just in: Sweden Sans

In recent events, the Swedish government commissioned the design firm Soderhavet to create a typeface which will be representative of Sweden in web, press releases & tourism. Those at
Soderhavet utilized present Swedish design to create a typeface that was minimal, clean & sleek; this typeface would also be able to utilize a paired down color schematic depending on the platform.

Soderhavet hit the pavement and pulled examples of Swedish typefaces from the streets, seeking to refine a common theme which carries an expression: lagom. This phrase means not too much and not too little. Content with the in-between.

The end result is the typeface Sweden Sans, which will be used to brand Sweden as a country. This practice is common for cities, but not necessarily for countries.

Learning about Sweden Sans & the concept of branding an entire country is very interesting to me. I believe it will aide my understanding of typography because it utilize a wider perspective. The design house commented that designing a typeface is the clothing for the alphabet: it communicates an attitude. This is an interesting idea and one I will remember throughout my design career. The design house also mentioned you can really never mess with the letters A or E because those are the most noticeable. Once a person can make a distinction, you've lost.

Bauhaus Movment

The Bauhaus changed type and design for ever. I was at Half Price books looking at some old magazines in San Antonio and I was admiring the bold, yet not neon color choices that the Bauhaus decided to run with. In this first picture I enjoyed the white space and the over lapping large letters, expertly where the a and u line up. The second one has a strong sense of line and shape, then enter-grading type into the grid. the third design i was pulled to has over sized letters bleeding into one another creating beautiful shapes that fade in and out of the readability zone. Finally the 4th one is a modern poster that has stolen inspiration from the Bauhaus, using the full round O and a extended fount, this shows just one very small example of how the Bauhaus moment has influenced us today, knowingly and unknowingly.