All posts filed under: Wolfgang Weingart

Weingart

Typography is not only for reading and must not be a pain. Typography can be a game and a lot of fun. At the beginning of September I went to see Weingart Typografie at the Museum of Design in Zurich. I spent a couple of hours there looking at his work and the work made by his students. And, while I was sketching and taking notes, all of a sudden, Weingart entered the exhibition room and I said hello and he looked at me and asked me if he had taught me… On my way out I bought a copy of 30 Years of Swiss Typographic Discourse  in the Typogrfische Monatsblätter: TM RSI SGM 1960-90 published by Lars Müller Publishers. Typogrfische Monatsblätter was a typographic journal that became a discussion platform for professionals in the field of typesetting and printing. In “Typografie ist eine Kunst für sich” from 1973, Tschichold called typographical game playing a hybrid decadence, stressing that a good typographer, unlike the self-aggrandising graphic designer, never actually feels free, he does not play, but rather follows the considerations of his reason. 30 …

“Atmosphere Rooms” for Philippe Apeloig, Paris

The Typorama finished a couple of weeks ago and I am still thinking about the walls of the Museum of Decorative Arts in Paris filled with Apeloig’s fonts, Metro-size posters and the music used for his animations composed by Barbatuques, Iannis Xanakis, Maurice Ravel and Laurent Rochelle, among others. Typorama, the exhibition and the catalogue, presents the panorama of Philippe Apeloig’s work which is conceptual, functional and artfully crafted. For me, the most important thing in the exhibition were Apeloig’s sources of inspiration, his Jewish roots, the fact that his grandparents came from Kazimierz Dolny in Poland, his fascination with movies like, 8 ½, Orfeo Negro and Battleship Potemkin. The way Philippe Apeloig presented 30 years of his work made me think of Alexander Dorner’s “Atmosphere Rooms”. Across the Atlantic, the German curator Alexander Dorner was experimenting with a different approach to explaining the relationship between art, design and architecture as director of the Landesmuseum in Hanover. Since the mid 1920s he had used pieces from its archive to depict the cultural history of particular eras by creating what …

Commonplaces Summer Programme Basel

A week ago Tony Pritchard, my course leader from the LCC, asked me to write about my experience in Basel. So I looked through my archive and I gathered the information about the course, as well as some photographs and quotes which help elucidate the philosophy behind the Basel School of Design and their Summer Programme. Between 1968 and 1999, the ‘Basel School of Design’ had conducted an Advanced Class of Graphic Design which was attended by students from all over the world. When the school was transformed into University Level, this Advanced Class was unfortunately closed. From the Basics in Design and Typography Programme, Basel 2008 When the Schule für Gestaltung Basel (Basel School of Design) first announced its First Summer Program ‘Basics in Design and Typography’, three weeks of workshops for graphic designers, students and educators, it emphasised the fact that the course would be conducted by Wolfgang Weingart and would ‘re-open a dialogue’ with the legendary Advanced Class of Graphic Design, closed since 1999 … The course was delivered in a series of …