Kurt Schwitters: advertisement, 1927
Josef Albers: stencil type
Herbert Bayer: universal alphabet, 1925
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New AlphabetsConstructivism affected typography in the area of alphabet design as well as in the practice of layout and typesetting. Just as the historical content of art was being questioned and replaced by new ideas, the Constructivist typeface concept was an experimental rethinking of Latin letter forms. The alphabets of Strzeminski, Albers, Schwitters, Tschichold or Bayer consisted of horizontal and vertical strokes, the two diagonals and the circle, and renounced decoration as unnecessary. No trace of personal handwriting or influence should come through in the forms. And so the 1920s prepared the way for the machine-readable typefaces of the 1960s as well as the even more modern screen types. |
Take a look at a selection of typefaces with an constructivist origin, offered by Linotype:
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Kabel is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Avenir, Industria and Insignia are trademarks of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.
Futura is a registered trademark of Bauer Types.
ITC Avant Garde Gothic is a trademark of International Typeface Corporation registered in the U.S. Patent and Trademark Office and which may be registered in certain other jurisdictions.
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