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TSCHICHOLD ACTIVE LITERATURE 149 -Preference Sanserifů

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TSCHICHOLD ACTIVE LITERATURE 149 -Preference Sanserifů TSCHICHOLD ACTIVE LITERATURE 149 -preference sanserifů zřejmá od počátku hnutí nové typografie - alespon ve větších vyobrazeních pro nadpisy atd -Devětsil 1922, Moholy nagy bauhaus 1923 - dřív vorticisti v Blast a futuristický věci -poprvý ideologie v druhu písma - ss pro advertising od 19. stletí -Tschichold - ss jako klíčovej element nový typo -šel i dál než současníci - používal by to i pro delší texty - -nejvíc užívanej na bauhausu - Breite fette Grotesk od Schelter & Giesecke http://www.flickr.com/photos/n1ke/4856809986/in/photostream -Venus grotesque (Bauer), Lapidar -Moholy nagy na bauhausu - většinou roman písmo v textu -některý roman písma ještě pořád líp čitelný než množství sansserifů -Die Neue Typographie -první tschicholdova kniha celá sázená v sanserifu -dnešní sansserify jsou ještě v mnohym ne zcela uspokojivý - to je bez diskuze -Kabel, Erbar - podle TSCH příliš individualistický - protopreferoval někdy anonymní starší grotesky -Konrad Bauer kritizoval tyhle jeho preference - for confusing plebeian dullness with objectivity 150 -podle Bauera bylo Tschicholdovo obhajování moc silný -i tady citace Tschicholdova zpětnýho revidování - tehdy si myslel že nej bude nejjednodušší, ale splet se, nejefektivnější bude nejčitelnější -těžká pozice od dvacátejch - preferoval ty anonymní grotesky starý, ale cejtil že to neni ono -Aurora - pro Novou typo knihu -Fututra pro něj krokem vpřed v sanserifech -vyšla v brzkym 1928 - -Ken Garland se v 1960 tal proč nepoužil Futuru na Novou typo knihu - prej mu nepřišla vhodná jako textový písmo -začal používat futuru tschichold kolem 1930 151 -1926 - DIN - standardizae, papírový formáty atd. -snahy o stadardizaci písma? grotesky.. -Albert Giesecke v opozici - písmo nikdy nebude, neni ani nebylo možný standardizovat, formát papíru může bejt, ale ne jeho kvality, - proti radikalistům, bolševistům, bauhausu, schwittersovi atd -Giesecke - Schelter & Giesecke - Leipzig -1920 - Sprache und Schrift - Walter Portsmann - inspirace pro racionalizaci, návrh směrující k malopisu - http://luc.devroye.org/33720.html http://luc.devroye.org/fonts-33720.html http://www.flickr.com/photos/27672822@N07/4310905369/ - Schelter Grotesk, a typeface designed in 1860, http://www.flickr.com/photos/kupfers/5933679233/ - Französische Grotesk Haas MUZIKA 496 po 1920 nástup renesance akcidenčních písem 19. století nebyl takovej výběr v tiskárnách - proto se často používalo písem defektních, respektive lidi byl tim stavem k tomuhle nucený odpůrci tak měli argumenty který bylo těžký vyvracet zvrat s nástupem novejch písem - jednak kopie písem z 19. stol, jednak písma úplně nová - moderní variace těchto vzorů americká Ludlow - od 1927 vydávali v různejch variantách Record Gothic a Square Gothic Haas'sche Schriftgiesserei - Commercial Grotesk - revidovanej z 19 stol E. Thielem v 1942 přesná kopie de facto Libri-Grotesk firmy Neu Didot Schriftgiesserei A.G. - úzkej tučnej grotesk německý H. Berthold A. G. z 1896 Haas'sche Schriftgiesserei - úzká světlá varianta Graphique - nepatrná parafráze starých vzorů v kresbě H. Eidenbenze z 1945 Moderní grotesky jsou četnější skupinou 1916 - Edw Johnston - zahájil řadu vyšel z něj jeho žák E Gill - dělal pro Monotype - 1927 - Gill Sans Serif v půltučné serii - soudobá typo dostala vskutku moderní písmo, nejlepší verzi ušlechtilá forma některejch liter kresebně obtéžnejch - G, K, Q, S a Z EFOJ taky zdařilý osobní výhrady k M dobrý i minusky a číslice - rozbor doplnoval v uplnou serii od nejmenšího po největší stupen, od slabýho po tučný řez, varianty uzky, široky, skloneny i ozdobny 503 všestranný soubor tovarny Monotype Corporation doplnuje firma Stephenson Blake dřevěnými literami pro tisk plakatů a pro velký rozměry Gill Sans se tak stal jedním z nejrozšířenejších písem v Anglii jízdní řady, plakaty, časopisy, dokonce i v knihach - věšude u nás taky rozšířen, třebaže tvrdá konkurence písem německých z něm mod grotesků je Kladům Gillova písma nejblíž Futura - Paul Renner z 1928 - vydal Bauersche Giesserei ve Frankfurtu n. M. , pro strojovou sazbu am sp. Intertype rozbor klady, výhrady k u taky hodně rozšířena S těmahle dvěma písmama mohou jen těžce někdo soupeřit Uvede jen letmo nějaký se kterejma se lze setkat u nás Kabel - Klingspor v Offenbachu n M - 1926-27 nakreslil Rudolf Koch neklidné písmo podle muziky, nepřidá na cti váženému autorovi popis umírněnější a přijatelnější - J. Erbar - Erbar-Grotesk z písmolijny Ludwig )ET) Mayer z roku 1924 popis kolem 1930 - Elegant-Grotesk - Berthold ET Stempel z Vídně - dobrá a stříuzlivá kresba, velká rodina Neuzeit Grotesk frankfurtský D. Stempel z 1928 - dobře se uchytil - nakreslil Wilhelm Pischner Arno Drescher - dva moderní grotesky - Super-Grotesk pro Schriftguss A. G. a Fundamental-Grotesk pro písmolijnu L. Wagner - oba vydaný roku 1930 jen sporadicky u nás setkáváme s podobnými řezy a písmy - pozoruhodné grotesky americké zajímavé že největší fejmař Frederic W. Goudy neměl s groteskama štěstí - jeho Sans Serif pro Lanston Monotype z 1930 nikterak nelze pokládat za zdařilý písmo tohoto typu 504 American Typefounders - grotesk Spartan - Sol Hess - nakreslil 1937 a až do 47 ho upravoval různě pr strojovou výrobu převzala tohle písmo továrna Mergenthaler Linotype Monotype tohle písmo dělá pod názvem Twentieth Century A. Typefounders množství grotesků dost udělal pro ně M. F. Benton - Franklin Gothic z 1903 News Gothic 1908, Bank Gothic 1930-33 Poster Gothic 1934 stejná společnost Bernhard Gothic od Luciana Bernharda v několika variantách 1929-31 Mergenthaler Linotype - písmo Metro - 1929 W. A. Dwiggins http://www.linotype.com/3245-21456/metroblackelectracaledonia.html firma Ludlow - R. H. Middleton - Stellar z 1929 a Tempo z 1930 Tempo doplnovaný verzema až do 1954 Intertype - 1930 - písmo Vogue - je blízký Kabelu od Kocha http://luc.devroye.org/fonts-41699.html - ale vypadá jak Futura v Anglii - písmo Granby - písmolijna Stephenson Blake 1930 - početná serie http://typophile.com/node/28292?page=1 Italy - psmljn Nebiolo - Semplicita, 1931 Holandsko- Nobel Grotesque firmy Lettergieterij Amsterdam z 1929-31 Romulus Sans Serif - Jan van Krimpen pro Joh. Enschedé - kresebně ušlechtilý, doplnil tim serii antikvy a italiky Romulus z roku 1932 http://www.flickr.com/photos/20994543@N04/4564471597/in/photostream/ většina grotesků doprovázena ornamentalnima variantama - vesměs však stínováný a obrysy, ale vyjimky u nás někdy samostatně ornamentální - např Drescher Initialen z 1927 nebo Lumina od J Erbara 1922,30 http://ilovetypography.com/2010/05/25/founders-grotesk-fonts/ Miller & Richard 1912 http://www.flickr.com/photos/20994543@N04/sets/72157623807806109/with/4553170168/ http://www.edinburghcityofprint.org/pages/allied-industries/miller-richard.php .
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