Typefaces evolved from The New Typography

Architype Albers
Created by Bauhaus professor, Josef Albers. Architype Albers is a typeface based on a limited palette 
of geometric forms combined in a size ratio of 1:3.Drawn on a grid, the elements of square, triangle, and circle combine to form letters with an economy of form. Never intended for text, the face was designed for use on posters and in large scale signs.




















Futura
Created by typeface designer, Paul Renner. The typeface is derived from simple geometric forms and is based on strokes of near-even weight, which are low in contrast. (This is most visible in the almost perfectly round stroke of the o, but the shape is actually slightly ovoid.) In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical roman capitals.




















Architype Bayer
Created by Austrian graphics designer, Herbert Bayer Architype Bayer is a geometric sans-serif based on Germanic use of capitalization for all nouns by abandoning uppercase. His new case combined characters based on the Carolingian minuscule with uppercase K rescaled to align on the mean line.

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Difference between de Stijl and Bauhaus

de Stijl uses straight lines and rectangular forms in only horizontally and diagonally arrangements. Any diagonal arrangements are often avoided. Unlike Bauhaus, photo elements, circles and curved shapes or lines are absent.

The key to creating art within the movement’s views was to follow the theory of scaling down formal components of art – using only primary colors and straight lines. It was felt that the artist’s personality should take a back seat in the artwork.









Unlike de Stijl, Photo elements, round objects and shapes are commonly use in the Bauhaus design. These designs can be positioned diagonally, horizontally or vertically

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Constructivism

Constructivism emerged from the influences of WWI and the Russian Revolution. This movement had artist that were deeply affected by the war and chaos that it brought. Many of the artist sought out expression through their art.Another purpose that many of the Constructivist artist had, was to create visual communication. Art that communicated their ideas and view points about the world and country that they live in.


-Art used as an instrument for social purposes
-Linkage of art with concrete and tangible ideas rather than abstract ideas


Constructivism Style
























-Geometric
-Utilitarian
-Experimental
-Carries universal meaning
-Artwork broken into basic elements
-Use of primary colors and neutrals
-Multiple angle and perspective
-Industrial themes

De Stijl

-De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition.

De Stijl Style
















•Use of orthogonals
• Right angles
• Straight lines
• Use of black, white, grey and the primary colors red, blue and yellow
• Bold san serif typeface
•Form reduced to the rectangle and other geometric shapes
•Asymmetry composition and design
•Their work exerted tremedous influence on the Bauhaus.

The Bauhaus

The Bauhaus movement is a school of art, architecture and design characterized by geometric design, respect for practical material, and its severely economic sensibilities.

the teaching plan insisted on functional craftsmanship in every field, with a concentration on the industrial problems of mechanical mass production. Bauhaus style was characterized by economy of method, a severe geometry of form, and design that took into account the nature of the materials employed.

Bauhaus Style
-notable for its marriage of type and photography
-started during after ww1 when typography was introduced to the Bauhaus school's curriculum














• Geometric
• Functional—As in “Fitness of
Purpose”
• Asymmetry
• Rectangular Grid Structures
• Decorations Limited to Heavy Rules,
Rectangles, Circles
• Photography and Montage instead
of Realistic Drawing
• San Serif Typefaces
• Did not distinguish between upper
and lower case.
• Influenced by De Stijl and
Constructivism
• Use of primary color
• Simple optical forms