Wolfgang Weingart turned a rebellious eye to Swiss rational typography, rescuing it from what he describes as “the threshold of stagnation.” While studying under the Swiss masters, Armin Hofman and Emil Ruder at the Künstgewerbeschule in Basel in the 1960s, Weingart reacted to existing standards by pushing typography to the limits of legibility and beyond. He narrowly escaped expulsion. Combining extreme letterspacing, slant, weight, size, and repetition with a fierce practical knowledge of printing, Weingart dismantled the rational methodology of his elders. Out of this radicality emerged a design movement appropriate to the changing postmodern times. New Wave was born. Weingart and the students he later taught at the Künstgewerbeschule in the sixties, seventies, and eighties, including April Greiman and Dan Friedman, used their intimate knowledge of Swiss modernism to open its unrelenting structure to the dynamic experiments of a new era. His audacity urges us to look deeply at our own time and, in so doing, “to question established typography standards, change the rules, and to reevaluate its potential.” 1 1 Wolfgang Weingart, My Way to Typography, trans. Katherine Wolff and Catherine Schelbert (Baden: Lars Müller, 2000), 112.
My Way to Typography Wolfgang Weingart | 2000
Fourth Independent Project: Letters and Typographic Elements in a New Context
In an era when lead type was virtually obsolete, the environment of a traditionally equipped type shop—its elements and tools in metal, wood, or synthetic materials—was the context, in fact, the impetus that enabled me to develop a progressive curriculum for the Künstgewerbeschule Basel. Swiss typography in general, and the typography of the Basel school in particular, played an important international role from the fifties until the end of the sixties. Its development, however, was on the threshold of stagnation; it became sterile and anonymous. My vision, fundamentally compatible with our school’s philosophy, was to breathe new life into the teaching of typography by reexamining the assumed principles of its current practice. The only way to break typographic rules was to know them. I acquired this advantage during my apprenticeship as I became expert in letterpress printing. I assigned my students exercises that not only addressed basic design relationships with type placement, size, and weight, but also encouraged them to critically analyze letterspacing to experiment with the limits of readability.
Building on Success | 77