contact.
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Louise Paradis: That is interesting. Graphic design and type design are applied arts. I wonder about the university level question sometimes … I am doing a master class in Lausanne at the moment.
Wolfgang Weingart: Lausanne was a totally unknown school, everybody laughed about this school. And what Lausanne is today I don’t know exactly. There is no philosophy behind it, like most schools today, not only in Switzerland. There is no great philosophy anymore, like the Bauhaus or Basel. For me, the results now are not at an academic university level. They are very low level. The results in Hofmann’s time, in the 60s and 70s in the advanced class, were high level, academic level. But the stupid government here in Switzerland, they don’t see this kind of thing, they see only paperwork. That is not only here, it is everywhere. I don’t see one school in the world that is interesting.
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Celestino Piatti — Otto Bützberger Revolving doors (1957)
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Ontwerp voor pakketzegels Nederland 1995 t/m 25 kilo
designer: onbekend
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Definitief ontwerp cijfers voor postzegels Nederland 1976 Cijferpostzegel
by Wim Crouwel -
LL Circular by Laurenz Brunner
While LL Akkurat dealt with aspects of Swiss Modernism, his new typeface LL Circular was initially dedicated to the pursuit of geometric purity: a Grotesk based on the principles of circle, triangle and square. He’s not the first. Ever since Paul Renner’s unsurpassed Futura (1927), type designers have obsessed over this problem: Kabel (1927), Neuzeit Grotesk (1928), Vogue (1930), Avant Garde (1968), Avenir (1988) and a string of others come to mind.
~Whats up with these Germanic cultures always trying to purify shit?~
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lettering comp for J.R.R. Tolkien Calendar 1990
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Elsner-Druck, 1914.
Published on occasion of the company’s 33rd anniversary, “we dedicated this work to our friends and for the sake of winning new sponsors..”
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