Q NEUE VBfiSCHULE R FÜR KUNST LEHRSTATTEN, WERKSTÄTTEN1 RUF" 45560 leipzigl form und gebrauch unerreicht frühjahr 11928 staatliche majolika-manufaktur karlsruhe a-g it has displaced all its rivals as the definitive sans-serif design much copied and imitated. Renner was a man not only capable of de- vising Futura but also of using it. He was alto- gether alert to the various theories of aesthetics and art that had passed over Germany in suc- ceeding waves. The influences of expressionism, constructivism, suprematism, dadaism, and non-objectivity he had feit and absorbed some twenty years before America knew much about them. Certainly in discussing the introduction of Futura into the United States one must consider the typographic style that was floated in with it. The illustrations on the pages before you will help to explain a few of the stages in the development of that style. It was the new style as much as the new type that had such a great effect on American advertising typography. Those of us who are of sufficient age can re- member this occurence; and we can recall the weird efforts of our own unschooled and inno- cent compositors to create something like it. The early influences on this developing functional typography were constructivism, su prematism and dadaism; all of which are evi dent on these pages. Renner foresaw that any new typography would get a bit out of hand at first. He pointed out that it was based partly on the new painting and partly on the new architecture; having, therefore, a split in its basic motivation which would have to be mended. This was because the kind of painting involvedcubist, dadaist, non-objectivist which influenced the typography, was a sort of ghost production as he put it, completely devoid of all purpose or rationality. In the architecture Renner saw the best chances for working out a really related and rational typography. Even in these four examples the evolution of a clear and interesting asymetrical typography is apparent; the latter two would damage no reputation if produced today. An example of the early use of the evolving typographic style for advertising purposes. BERLIN I DRESDEN TECHNIK ZEICHNEN HALEN IN SAMTLICHEN MATERIALIEN FRESKOMALEN HOLZSCHNITT RADIEREN STEINZEICHNEN BILDHAUEN BTONBHOLZB GIPS B STEIN .EITUNG: EDMUND KESTING ELEMENTARES NATURSTUDIUM B B ZEICHNEN B MALEN B MODELLIEREN B E NACH LEBENDEM MODELLB GESTALTUNGSLEHRE B KOMPOSITION I WERKSTÄTTEN f reS GESTALTUNG i ®-® WEBEN B 5 VERDIENST. BUCHBINDEN B MÖGLICHKEITEN METALLARBEITEN B NACHÜBER GESTALTEN VON i; EINKUNFTB GEGENSTANDEN SCHAUFENSTERN MÖBELN USW K«^«n 6 Cfi DRESDEN-24 MÜNCHNER STR. 5 Typographic experiment of the 1925 period. Reproduced from Archiv für Buchgewerbe und Gebrauchsgraphik, Band 63, Heft 6, 1926. in central-meitpalait ecke grimmaitchc Straße-neumarkt II. Obergeschoß koje 43/44 grassi-museum 28

Print Magazine en | 1953 | | page 30