![]() Bill spent two years there as a student from 1927, and the continuing influence of Van Doesburg had a great impact on his work. Bayer was a student and then master at the school, where he was inspired by a series of unofficial lectures given by Van Doesburg in 1921. ![]() Though typography was not included in its original manifesto, the Bauhaus proved a fertile meeting ground and was the catalyst for the development of many of the New Typography’s basic tenets. Most of the designers were known to and influenced each other. Both Van der Leck and Van Doesburg, for instance, were founder members De Stijl, and the basic elements of that movement’s expression – the right angle and the three primary colours plus white, black and grey – are used in their typographic designs. Most of them use a severely restricted geometric structure that reflects the artistic language of the movements from which they grew. We chose alphabets with contrasting visual forms, but which were inspired by similar ideas. References to the alphabets have appeared in books and journals, and both the Bauhaus-Archiv in Berlin and the Kröller-Müller in Otterlo supplied us with a wealth of photographic reference material. The designers we have chosen for our first volume are Theo van Doesburg, Herbert Bayer, Paul Renner, Jan Tschichold, Bart van der Leck and Max Bill. Each face in the Architype series is based on an archetypal design by an influential figure of the European inter-war avant-garde which has inspired subsequent typographers. In the belief that the experimental type designs of the 1920s and 1930s deserve to be made available to a wider audience, we have issued a selection of typefaces with some substance and thinking behind them, linked by a common theme. But although some contemporary work is exciting and progressive, some merely follows the style of the earlier era without an understanding of the philosophy behind it. Today’s experimental typography owes much to this period. Although their ideas were suppressed by political change, their experimental work developed into the design language which became the foundation of Modernism. The artists of the early avant-garde believed that art and design could help to build a new and better society, and their rejection of all forms of historicism and embellishment led them to embrace an aesthetic of clean, simple and functional forms. ![]() The period between the First and Second World Wars is one of the most interesting in design history, with the beginnings of the Modern Movement and the rise of the New Typography.
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