Global ETD Search

1	I Never Learned To Type With Ten Fingers Strong, Laslo January 2022 (has links) Luise Schröder founded a private business school in 1910 in Stettin, a city once part of Germany. With a focus on typewriting and stenography, she was a local educator of modern communication. Throughout four generations, her family was impacted by global technological developments and socio-political shifts.‘I Never Learned to Type with Ten Fingers’, edited by Schröder's great-great-grandson and graphic designer Laslo Strong, compiles stories from a family-run school. It delves into the past century of typography, through personal and corporate documents. Pictures, letterheads, graphic prints, signs, and newspaper articles provide insight into a particular corporate identity. In dialogue with this research, a series of typefaces was designed dedicated to the characters of the school. They give voice to anecdotes and speculative stories about family and typography. typography blackletter fraktur history calligraphy typewriting technology type design graphic design family typeface urban photography fiction slash-fiction Second World War Polen Germany Design Design
2	Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing Leonard, Charles C. 12 January 2006 (has links) This thesis reviews the circumstances that led to what Paul Renner called “the inflation of historicism,” places his response to that problem in the context of the Weimar Republic, details how the German attributes with which he began the project were displaced from the typeface that emerged in 1927, demonstrates that Futura belongs to a new category of serif-less roman fonts rooted in Arts and Crafts lettering, and considers why the specifically German aspects of the project have gone unrecognized for over seventy years. Renner’s writing is compared to ideas prevalent in early twentieth-century German cultural discourse, and Futura’s design process is placed in the context of Renner’s personal experience of Weimar’s social and economic crises. Objective measurements are employed to establish the relationship between drawings attributed to Renner and are used to compare features of Futura with other fonts of the period. Type-founding Typography Neue Sachlichkeit Fraktur Blackletter Bruchschrift Gothic lettering Carolingian minuscule Roman capital Edgar Dacquè Twentieth-century graphic design Bauer foundry Culture of inflation Panose Gill Sans Kabel Grotesk Grotesque Semper Riegl Schrift unserer zeit Evolution of European scripts Art and Design
3	Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing Leonard, Charles C. 12 January 2006 (has links) This thesis reviews the circumstances that led to what Paul Renner called “the inflation of historicism,” places his response to that problem in the context of the Weimar Republic, details how the German attributes with which he began the project were displaced from the typeface that emerged in 1927, demonstrates that Futura belongs to a new category of serif-less roman fonts rooted in Arts and Crafts lettering, and considers why the specifically German aspects of the project have gone unrecognized for over seventy years. Renner’s writing is compared to ideas prevalent in early twentieth-century German cultural discourse, and Futura’s design process is placed in the context of Renner’s personal experience of Weimar’s social and economic crises. Objective measurements are employed to establish the relationship between drawings attributed to Renner and are used to compare features of Futura with other fonts of the period. Type-founding Typography Neue Sachlichkeit Fraktur Blackletter Bruchschrift Gothic lettering Carolingian minuscule Roman capital Edgar Dacquè Twentieth-century graphic design Bauer foundry Culture of inflation Panose Gill Sans Kabel Grotesk Grotesque Semper Riegl Schrift unserer zeit Evolution of European scripts Art and Design
4	Making a hybrid of Fraktur and Helvetica : Investigating typography's connection to power, from a historical perspective in a contemporary context Bager, Freja January 2018 (has links) Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image. The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons. As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevitable as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and functionalist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers. Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm. Power Typography Fraktur Blackletter Textura Helvetica Grotesque Type Design Typeface Communication Graphic Design Design Type History Calligraphy Font Font Design Gothic Typographic Communication Propaganda Visual Communication Visual Communication + Change Change Change Agent Agent of Change +Change Art Fine Arts Makt Typografi Gotik Typsnitt Typsnittsdesign Typografihistoria Kommunikation Grafisk kommunikation Visuell Kommunikation Formgivning Kalligrafi Typografisk Kommunikation Konst Design Design

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