We are
Cre at ors.
Created to create. Type life edition. Create to exist.
Content. Meaning: If you feel content, you’re satisfied and happy. The content of a book, movie, or song is what it’s about: the topic. Adj. Satisfied or showing satisfaction with things as they are. (Noun): The sum or range of what has been perceived, discovered, or learned.
Pages that inspire. What is inspration to you?
The Bauhaus was arguably the single most influential modernist art school of the 20th century. Its approach to teaching, and to the relationship between art, society, and technology, had a major impact both in Europe and in the United States long after its closure under Nazi pressure in 1933.
The origins of the Bauhaus lie in the late 19th century, in anxieties about the soullessness of modern manufacturing, and fears about art’s loss of social relevance. The Bauhaus aimed to reunite fine art and functional design, creating practical objects with the soul of artworks.
Although the Bauhaus abandoned many aspects of traditional fine-arts education, it was deeply concerned with intellectual and theoretical approaches to its subject. Various aspects of artistic and design pedagogy were fused, and the hierarchy of the arts which had stood in place during the Renaissance was levelled ouWt: the practical crafts - architecture and interior design, textiles and woodwork - were placed on a par with fine arts such as sculpture and painting.
BH
fights imitation
Architecture begins where The artist is an engineering ends. exalted craftsman.
Specialists are people who always repeat the same mistakes.
BH
A modern, harmonic and lively architecture
One of the outstanding achievements of the new constructional technique has been the abolition of the separating function of the wall.
Society needs a good image of itself.
That is the job of the architect.
The Bauhaus fights imitation, inferior craftsmanship and artistic dilettantism. The Bauhaus
The Bauhaus Only work which is the product of inner compulsion can fights imitation have spiritual meaning.
The mind is like an umbrella, it functions best when open.
Limitation makes the creative mind inventive.
Joost schmidt Known to all as “Schmidtchen”, Joost Schmidt came to the Bauhaus as a student and was among the young masters appointed by Gropius in 1925. He stayed until 1932. He studied at Bauhaus from 1919-1925, and started working with type in 1923. From 1925 until 1932, he was a professor at Bauhaus. After the war, he became professor at the Hochschule für bildende Künste in Berlin. He created some typical Bauhaus alphabets. From 1925 Joost Schmidt instructed preliminary course students in typographic design. From 1929 he also taught nude and figure drawing for students in later semesters.
Joost be a goo
t
This was his way of countering the tendency which became apparent in the late 1920s, whereby teaching and practical work in the workshops drifted apart. He eventually also included life drawing and figure drawing in his curriculum for the higher semesters. In his colour theory, he concentrated – by contrast to his teacher Itten – on the most recent scientific findings on colour
od designer.
The history of The Helvetica® typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. The design embodies the concept that a typeface should absolutely support the reading process – that clear communication is the primary goal of typography.
Helve
Helvetica is a neo-grotesque or realist design, one influenced by the famous 19th century typeface German and Swiss designs became a hallmark of the International Typographic Style that emerged from the work of Swiss designers.
Helvetica is ubiquitous because it works so well. The first version of Helvetica was created in 1957 by Max Miedinger. A Swiss typeface designer. Helvetica is a font of such practicality– and, its adherents would suggest, such beauty–that it is both ubiquitous and something of a cult. The typeface even inspired a compelling and successful movie.
etica
helve
etica
19
57
Helvetica didn’t start out with that name. The story of Helvetica began in the fall of 1956 in the small Swiss town of Mßnchenstein.
Miedinger wanted a font that was clear to the eye and could be used in a variety of ways. It was originally called Neue Hass Grotesk.
His goal was to design a new sans-serif typeface that could compete in the Swiss market with the goal to create a neutral typeface that should give no additional meaning.
crea to
cre
The Helvetica variation continued to grow as the typeface grew in popularity.
ated
Monotype Studio have since created a more contemporary update of it. Helvetica Now is described as a ‘restoration’ of the original Helvetica, with a variety of useful alternate letterforms and characters added and available in three optical sizes— Micro, Text, and Display.
eate.
Helvetica® Now is a new chapter in the story of perhaps the bestknown typeface of all time. It has everything we love about Helvetica and everything we need for typography today.
Designed by
Hair Italic
fira s
Regular
Fira Sans Thin Heavy Italic
Medium italic
Thin Italic
Fira Sans Bold Four Italic Eight Italic
Ultra light
Regular italic Fira Sans Hair
Fira Sans Four
Extra light
sans Bold italic Book
Two Italic
Book italic
Extra light italic Fira Sans Two
Medium
Extra bold
Semibold Ultra light italic Fira Sans Eight
Erick spiekermann
The history of Fira Sans is a humanist sans-serif typeface designed by Erik Spiekermann Type Design for the Firefox OS.
Fira was released in 2013 initially under the Apache License and later reissued under the SIL Open Font License.
Fira can be freely redistributed. This was an essential feature for me as I was redesigning the documentation for the Racket programming language. It is closely related to the Meta typeface designed and developed by Spiekermann in the late 1980s which is used as the brand typeface of the Mozilla Foundation.
Though the design may be familiar, Fira is still notable for the circumstances of its birth. It was commissioned by the Mozilla Foundation for the Firefox OS and released under the SIL Open Font licence.
With Fira, Spiekermann has taken his own proprietary design — and not just any design, but Meta, a longtime bestseller — and created a libre version.
Fira Sans Firefox Font
Fira offers the pleasure and utility of Meta, with the flexibility of an open license.
What’s not to like?
the creation.
Work i
I mean, everyone puts their history into their work. Good design is often based on a careful mix of tradition and innovation.
Erick
“The materials shape your idea.”
Spieke
“I love to be a graphic designer, but could we get rid of clients somehow please?”
“Typomani no Unfo
“You are what you are seen to be.”
My advice, now and always, is learn, learn, learn—starting right here.
“Designers like even grayness, which is the worst thing for a re
is gas. Work will fill any given volume. “Inspiration. From real life. I open my eyes and I travel and I look. And I read everything.”
When I do typography, it’s 150 percent effort.
ermann
ia is curable but ot fatal. ortunately.”
eader.”
The function has to be the brand. If it works well, it has to be branded at the same time.
“You have to have a strategy, and you also have to be able to visualize it—one doesn’t go without the other.” “The attention someone gives to what he or she makes is reflected in the end result, whether it is obvious or not.”
Erik Spiekermann is a legendary German type designer and information architect. Besides he has published numerous books and articles on the subject of typography and other cultural issues for magazines.
He founded MetaDesign (1979) and FontShop (1988).
He is behind the design of well-known brands such as Audi, Bosch, VW, German Railways and Heidelberg Printing, among others.
During late 1980s, Spiekermann with his significant other, Joan Spiekermann, launched the FontShop. It was the first mail-order producer and distributer of electronic fonts.
It seemed perfectly natural, then, for Adobe to call on Spiekermann to help breath life into some unfinished fonts from legendary Bauhaus design masters, lost for nearly 100 years.
