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MODULAR TYPOGRAPHY (CONTEMPORARY TYPOGRAPHY (Friedrich Soennecken - In…
MODULAR TYPOGRAPHY
CONTEMPORARY TYPOGRAPHY
Friedrich Soennecken - In 1878, Soennecken developed a method for creating glyphs, based on metal elements that are either arch or straight lines.
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Joseph A. David - David created a stencil that was capable of generating every letter of the alphabet in a coherent manner. The Plaque Découpée Universelle could explore the limitations and patterns of a unified grid system.
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Joan Trochut - a collection of modular forms which could easily be combined into typographic, pictorial or decorative elements.
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Bruno Munari - The ABC with Imagination collection allows for an understanding of the components that make up each letterform. From this set you are able to experiment with composition to create unique forms.
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Wim Crouwel - Crouwel’s work has always consisted of two essential elements: the emotional aspect and the rational one. He drew the New Alphabet, a highly abstract font, based on a dot-matrix system. With its straight lines, 90 degree angles and 45 degree roundings, either big or small, it always looked exactly the same.
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Pierre Di Sciullo - Sciullo looks at typography and the process in which new type forms are created. Not only does he influence the shape of letters (in his creations) but also develops a system of rules in which to enforce.
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Philippe Apeloig - Reading an article from 'design boom.com' Apeloig discusses his thoughts on typefaces. His belief is that type should introduce a 'subtle, expressive element' and that simple but perfect type can enhance a posters sense of order.
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PAULA SCHER
Scher is perhaps one of the most influential designs of the modern world, enforcing both a analog and digital method of thinking to her work. Her work has been exhibited all over the world in Museums such as: MoMA, V & A Museum and many others.
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Based on Art deco and Russian constructivism, she developed a typographic solution. The solution employed outmoded typefaces into her designs. Her typography was influenced by Russian constructivism and without imitating its style she only made use of its vocabulary of form.
Scher experiments with type and its composition, portraying text in both horizontal, vertical and diagonal formations. She is able to create a 'map' of information that isn't necessarily composed in a chronological order, but can still be navigated and appreciated.
