Graphic Design Theory : Readings From the Field

Creating the Field | 21 ManiFes To oF FuTurisM F. T. MarineTTi | 1909 We intend to sing the love of danger, the habit of energy ...

22 | Graphic Design Theory ale KsanDr roDchenKo Was The son oF a propMan anD a launDress. aT The BeGinninG o F The sovieT revolu ...

Creating the Field | 23 what’s needed—is no rest Who saw a wall.... Who saw just a plane— everyone... and no one Someone who had ...

24 | Graphic Design Theory black, and white flags... everything all over, throughout, everything was covered in squares. And yes ...

Creating the Field | 25 el lissiTzK y Tirelessly TraveleD—anD cross-pollinaTeD. This inTense russian consTrucTivisT spurreD The ...

26 | Graphic Design Theory is fundamental to the changing of the appearance and form of things. In the first place it is the con ...

Creating the Field | 27 We know two kinds of writing: a symbol for each idea = hieroglyph (in China today) and a symbol for each ...

28 | Graphic Design Theory The idea of the “simultaneous” book also originated in the prewar era and was realized after a fashio ...

Creating the Field | 29 At the end of the Civil War (1920) we were given the opportunity, using primitive mechanical means, of p ...

30 | Graphic Design Theory The cinema and the illustrated weekly magazine have triumphed. We rejoice at the new media that techn ...

Creating the Field | 31 el lissiTzK y Cover for Veshch (Object), 1922. ...

32 | Graphic Design Theory lászló Moholy-naGy Spread from Malerei, Photographie, Film (Painting, Photography, Film), 1925. lászl ...

Creating the Field | 33 TypophoTo lászló Moholy-naGy | 1925 Neither curiosity nor economic considerations alone but a deep human ...

34 | Graphic Design Theory Until recently typeface and typesetting rigidly preserved a technique that admittedly guaranteed the ...

Creating the Field | 35 in 1923 jan TschicholD, a TWenTy-one-year-olD GerMan TypoGrapher, aTTenDeD The Bauhaus exhiBiTion in Wei ...

36 | Graphic Design Theory happen today, but the rigidity of central-axis setting hardly allows work to be carried out with the ...

Creating the Field | 37 tHE mEtHod of nE w tYPogr APHY is b AsEd on A clEAr rEAliz Ation of PurPosE And tHE bE st mEAns of A cHi ...

38 | Graphic Design Theory The old typography did the opposite: it recognized only one basic form, the central-axis arrangement, ...

Creating the Field | 39 as a puBlicisT For The MonoType corporaTion, one oF The leaDin G TypeFace ManuFac Turers, BeaTrice WarDe ...

40 | Graphic Design Theory obviate the necessity of fingering the type page? Again: the glass is colorless or at the most only f ...