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The founder of dada was a writer, Hugo Ball.
DADA is an art movement that was created during the first world war in Zurich in negative reaction to the horrors and folly of the war.
In addition to being anti-war, dada was also anti-bourgeois and had political affinities with the radical left.

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The Beatles: Sgt Pepper’s Lonely Hearts Club Band (1967)

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The Beatles: Sgt Pepper’s Lonely Hearts Club Band (1967)

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This two drawings are inspired by SI SCOTT
Which is a graphic designer illustrator.

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the most thing that I see is the yellow color, and also the different sizes of the plate.

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As you can see the background color are strong purple, and the clear sing of what the poster trying show you. and also the clear information of writing,

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the first thing is the strong color a the first time I see the poster and the sing.

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the big letters and the message that are trying to tell you and at the same time the big hero pasted on with a red mask on it. its is clear the information.

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remember to label all these with the design concept you were exploring - eg balance, contrast, emphasis

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born in Whitechapel, London, in 1914. From 1936 Abram Games freelanced as a graphic designer, creating posters for London Transport and Shell.

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war, the smoking, the smoke and the hand show a coffin - showing how smoking can kill. Black, white and red contrast to catch your eye

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add in some images of his work and your own opinion of them.

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Bryan as you started late to the course you missed some of the early sessions , however you have the key areas. Upload your sketchbook pages to here as well so that padlet documents all of your work. Try to add in some more personal opinions of things

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i made this with a different types of materials as your can see on the pictures. and i add different types of techniques and colours.

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I did a researching of 3 artist and i uploaded 4 different images from them work and the descriptions of each of them as well I did a quick researching of them biography.

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I did this collage (Adobe Photoshop) inspired on David Carson.
I put 7 deferment photos and i put them one on top of them and i created my name (Alex) and i tried to imitate his work.

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Marcel Duchamp, Fountain, 1917.

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i made this collage inspired by Jamie Reid, for this collage i took some pictures from different newspapers and i put all one in top of other and then i created this illusion as you can see in the image, and also i wrinkled the pictures to created an effect 3D

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collage made by photoshop and inspired by Jamie Reid

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He born on 1947 in London, he is an anarchist with connections to the Situationists. his works has the style of punk rock. Jamie Reid has produced a series of powerful contemporary political art prints. one of the most populars works are the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles "Anarchy in the UK", "God Save The Queen" and also he study on the Jhon Ruskin grammar schol in Croydon

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Jamie Reid (born 16 January 1947 in London, United Kingdom) is an English artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles " Anarchy in the UK", " God Save The Queen" (based on a Cecil Beaton photograph of Queen Elizabeth II, with an added safety pin through her nose and swastikas in her eyes, described by Sean O'Hagan of The Observer as "the single most iconic image of the punk era"), " Pretty Vacant" and " Holidays in the Sun".

He was educated at John Ruskin Grammar School in Croydon. With Malcolm McLaren, he took part in a sit-in at Croydon Art School.

Reid produced a series of screen prints in 1997, the twentieth anniversary of the birth of punk rock. Ten years later on the thirtieth anniversary of the release of God "Save the Queen," Reid produced a new print entitled "Never Trust a Punk," based on his original design which was exhibited at London Art Fair in the Islington area of the city " ". Reid has also produced artwork for the world music fusion band Afro Celt Sound System.

Jamie Reid created the ransom-note look used with the Sex Pistols graphics while he was designing Suburban Press, a radical political magazine he ran for five years.

His exhibitions include Peace is Tough at The Arches in Glasgow, and at the Microzine Gallery in Liverpool, where he now lives. Since 2004, Reid has been exhibiting and publishing prints with the Aquarium Gallery, where a career retrospective, May Day, May Day, was held in May 2007. He now exhibits and publishes work at Steve Lowe's new project space the L-13 Light Industrial Workshop in Clerkenwell, London.

In 2009 following allegations Damien Hirst was to sue a student for copyright infringement, Reid called him a "hypocritical and greedy art bully" and in collaboration with Jimmy Cauty produced his For the Love of Disruptive Strategies and Utopian Visions in Contemporary Art and Culture image as a pastiche replacing the God Save The Queen with God Save Damien Hirst.

He is also represented by John Marchant Gallery who look after Reid's extensive archive.

In October 2010, US activist David Jacobs - founder of the early 1970s Situationist group Point-Blank! - challenged claims that Reid created the "Nowhere Buses" graphic which appeared on the sleeve to the Sex Pistols' 1977 single Pretty Vacant and has subsequently been used many times for limited edition prints. Jacobs said that he originated the design, which first appeared in a pamphlet as part of a protest about mass transit in San Francisco in 1973.

Reid has also been involved in direct action campaigns on issues including the poll tax, Clause 28 and the Criminal Justice Bill.

His former partner was actress Margi Clarke, with whom he had a daughter, Rowan.

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Jamie Reid (born 16 January 1947 in London, United Kingdom) is an English artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK.

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Jamie Reid (born 16 January 1947 in London, United Kingdom) is an English artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK. His best known works include the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols and the singles "Anarchy in the UK", "God Save The Queen" (based on a Cecil Beaton photograph of Queen Elizabeth II, with an added safety pin through her nose and swastikas in her eyes, described by Sean O'Hagan of The Observer as "the single most iconic image of the punk era"), "Pretty Vacant" and "Holidays in the Sun".

He was educated at John Ruskin Grammar School in Croydon. With Malcolm McLaren, he took part in a sit-in at Croydon Art School.

Reid produced a series of screen prints in 1997, the twentieth anniversary of the birth of punk rock. Ten years later on the thirtieth anniversary of the release of God "Save the Queen," Reid produced a new print entitled "Never Trust a Punk," based on his original design which was exhibited at London Art Fair in the Islington area of the city " ". Reid has also produced artwork for the world music fusion band Afro Celt Sound System.

Jamie Reid created the ransom-note look used with the Sex Pistols graphics while he was designing Suburban Press, a radical political magazine he ran for five years.

His exhibitions include Peace is Tough at The Arches in Glasgow, and at the Microzine Gallery in Liverpool, where he now lives. Since 2004, Reid has been exhibiting and publishing prints with the Aquarium Gallery, where a career retrospective, May Day, May Day, was held in May 2007. He now exhibits and publishes work at Steve Lowe's new project space the L-13 Light Industrial Workshop in Clerkenwell, London.

In 2009 following allegations Damien Hirst was to sue a student for copyright infringement, Reid called him a "hypocritical and greedy art bully" and in collaboration with Jimmy Cauty produced his For the Love of Disruptive Strategies and Utopian Visions in Contemporary Art and Culture image as a pastiche replacing the God Save The Queen with God Save Damien Hirst.

He is also represented by John Marchant Gallery who look after Reid's extensive archive.

In October 2010, US activist David Jacobs - founder of the early 1970s Situationist group Point-Blank! - challenged claims that Reid created the "Nowhere Buses" graphic which appeared on the sleeve to the Sex Pistols' 1977 single Pretty Vacant and has subsequently been used many times for limited edition prints. Jacobs said that he originated the design, which first appeared in a pamphlet as part of a protest about mass transit in San Francisco in 1973.

Reid has also been involved in direct action campaigns on issues including the poll tax, Clause 28 and the Criminal Justice Bill.

His former partner was actress Margi Clarke, with whom he had a daughter, Rowan.

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Jamie Reid (born 16 January 1947 in London, United Kingdom) is an English artist and anarchist with connections to the Situationists. His work, featuring letters cut from newspaper headlines in the style of a ransom note, came close to defining the image of punk rock, particularly in the UK.

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(created) on 1976

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(created) August 2012

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he born on September 8 of 1955, he is a graphic designer and art director from America (Corpus Christi, Texas) whose unconventional style revolutionized visual communication in the 1990s
He went on to study Sociology from San Diego State University and graduated with a Bachelor of Arts degree. After been working for Ray Gun in 1995he left, Carson established David Carson Design. The firm was instantly successful and attracted well-known, wealthy corporate clients

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David Carson is a prominent contemporary graphic designer and art director. His unconventional and experimental graphic style revolutionized the graphic designing scene in America during 1990s. He was the art director of the magazine Ray Gun, in which he introduced the innovative typographies and distinct layouts. He is claimed to be the godfather of 'grunge typography' which he employed perpetually in his magazine issues.

On September 8, 1954, Carson was born in Corpus Christi, Texas. He went on to study Sociology from San Diego State University and graduated with a Bachelor of Arts degree. He touched upon graphic designing briefly while attending a two-week commercial designing class at the University of Arizona, in 1980. Subsequently, he attended the Oregon College of Commercial Art to study graphic designing and a three-week workshop in Switzerland as a part of his degree. He also took up a teaching job at a Californian high-school where he taught for several years. Besides, his many talents include professional surfing and he was ranked 9th best surfer in the world, in 1989.

David Carson embarked on his passion for graphic designing in his later life. In the beginning he worked as a designer for a magazine, Self and Musician, covering surfers' interests. His early experiences also include working for Transworld Skateboarding magazine which paved way for his experimental designing. He became the art director for the magazine in 1984 and revised its style and layout until his tenure ended. During his time at Transworld Skateboarding, he developed a signature style with the use of unconventional 'dirty' type photographic techniques. In 1987, he also lent his expertise to the extension of the magazine, Transworld Snowboarding.

In 1989, he was landed a job at the magazine Beach Culture, as an art director. After the publication of only six issues, the magazine folded. Notwithstanding, Carson made a name for himself through the opportunity, as his designs were recognized for his for his unique style and typography and consequently earned over hundred design awards. In 1992, he was offered a job at an alternative-music magazine Ray Gun, whose publisher saw true potential of his graphic design skills. Once again, Carson proved himself as he tripled the magazine's circulation and attracted a wide readership. In fact, to keep the spirit of the magazine alive he notoriously published a tedious interview with Bryan Ferry in Zapf Dingbats (symbol) font.

His work is characterized by the chaotic typography and pattern it embodies, disarray of photos overlapping each other, seemingly meaningless at the surface but holding a larger picture. To put in simpler words as Albert Watson stated, the disorganized use of his typography has its own purpose, such as the each stroke of a painter's brush evoke different emotion, imagery and idea, so does Carson's designs possess such attributes. Where his innovative style of visual communication attracted new readers it also repelled many who considered his work fractured, hence misleading.

Although his covers for Ray Gun were often radical and bold, it fascinated the young readership, thus the big corporations also hired him for their brand advertisements through both print and electronic media. In 1995, Carson quit his job at Ray Gun and established his own firm, David Carson Design. He signed contract with a host of major corporate clients, including Nike, Pepsi Cola, Ray Bans, Levi Strauss and MTV Global among others. Additionally, he published a comprehensive collection of his graphic works The End of Print: The Graphic Design of David Carson (1995) and other highly experimental works; 2nd Sight, Trek and Fotografiks.

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David Carson | Biography, Designs and Facts

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David Carson is a prominent contemporary graphic designer and art director. His unconventional and experimental graphic style revolutionized the graphic designing scene in America during 1990s. He was the art director of the magazine Ray Gun, in which he introduced the innovative typographies and distinct layouts.

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This article was most recently revised and updated by

David Carson, (born September 8, 1955, Corpus Christi, Texas, U.S.), American graphic designer, whose unconventional style revolutionized visual communication in the 1990s.

Carson came to graphic design relatively late in life. He was a competitive surfer-ranked eighth in the world-and a California high-school teacher when, at age 26, he enrolled in a two-week commercial design class. Discovering a new calling, he briefly enrolled at a commercial art school before working as a designer at a small surfer magazine, Self and Musician. He then spent four years as a part-time designer for the magazine Transworld Skateboarding, which enabled him to experiment. His characteristic chaotic spreads with overlapped photos and mixed and altered type fonts drew both admirers and detractors. Photographer Albert Watson, for example, declared, "He uses type the way a painter uses paint, to create emotion, to express ideas." Others felt that the fractured presentation obscured the message it carried.

In 1989 Carson became art director at the magazine Beach Culture. Although he produced only six issues before the journal folded, his work there earned him more than 150 design awards. By that time, Carson's work had caught the eye of Marvin Scott Jarrett, publisher of the alternative-music magazine Ray Gun, and he hired Carson as art director in 1992. Over the next three years, with the help of Carson's radical design vision, Ray Gun's circulation tripled. Because Carson's work clearly appealed to a youthful readership, corporations such as Nike and Levi Strauss & Co. commissioned him to design print ads, and he also began directing television commercials.

After leaving Ray Gun in 1995, Carson established David Carson Design. The firm was instantly successful and attracted well-known, wealthy corporate clients. In 1995 Carson produced The End of Print: The Graphic Design of David Carson (revised edition issued in 2000 as The End of Print: The Grafik Design of David Carson), the first comprehensive collection of his distinctive graphic imagery. This was followed by the boldly experimental books 2nd Sight (1997), Fotografiks (1999), and Trek (2003). In 2014 Carson was awarded an AIGA Medal.

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David Carson | American graphic designer

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David Carson, American graphic designer, whose unconventional style revolutionized visual communication in the 1990s. Carson came to graphic design relatively late in life. He was a competitive surfer-ranked eighth in the world-and a California high-school teacher when, at age 26, he enrolled in a

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created (October 2014)

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Man Ray, Ingres’s Violin, 1924

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I made this screen printing inspired by a graphic designer Alan kitching
and i took the number 23 and alexander and then i put one in top of other and at the same time y tried to not separate to much the letters to make more easy to understand (Alexander).

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He born at 1940 on United Kingdom (Darlington)
he is a typographer

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Alan Kitching is one of the world's foremost practitioners of letterpress typographic design and printmaking. He is renowned for his expressive use of wood and metal letterforms in creating visuals for commissions and limited edition prints. He lives and works at The Typography Workshop in Kennington, south London, which he shared with designer, writer and partner Celia Stothard (deceased 2010).

This exhibition is a landmark event and has toured selected venues across the UK starting in London's Somerset House. It will not only show finished pieces of work but the method and process behind key works with sketches, proofs and roughs gathered from Alan's own archive.? Objects, artefacts and equipment from Alan's workshops will enlighten visitors to the inspiration and motivation behind the work.

The exhibition is accompanied by the release of an illustrated biography of the same name, featuring over 400 prints and published by Laurence King.

As an exclusive to Design Manchester, Alan will be creating bespoke items for sale during the festival and will also host a masterclass, details of which will be announced soon.
The exhibition can be seen every day from 12th to 21st October, except Sunday 16th October when the building is closed.

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Alan Kitching is one of the world's foremost practitioners of letterpress typographic design and printmaking. He is renowned for his expressive use of wood and metal letterforms in creating visuals for commissions and limited edition prints. He lives and works at The Typography Workshop in Kennington, south London, which he shared with designer, writer and partner Celia Stothard (deceased 2010).

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Alan Kitching RDI AGI Hon FRCA (born 1940), is a practitioner of letterpress typographic design and printmaking. Kitching exhibits and lectures across the globe, and is known for his expressive use of wood and metal letterforms in commissions and limited-edition prints.

Born 1940 in Darlington, Co. Durham, he was an apprentice compositor (1956-61). From 1962-64 he was a technician in hand and line type composition, Department of Printing, Watford College of Technology, Herts. After meeting Anthony Froshaug (the new head of department) Kitching co-established the experimental printing workshop at Watford College of Technology. Kitching later continued to collaborate with Froshaug on student projects at the Central School of Art & Design.

In 1973 Alan began his own design practice in London with Colin Forbes. In 1977 he partnered with Derek Birdsall and Martin Lee at Omnific and started letterpress printing there in 1985. He began letterpress workshops in 1986 at Omnific Studios, Islington, London. He then went on to establish The Typography Workshop in Clerkenwell (1989). From 1994 he worked in partnership with designer/writer Celia Stothard (later his wife). In 1999, in partnership with designer and teacher, Celia Stothard FRSA, Kitching purchased a large collection of theatrical wood types, now named, 'Entertaining Types' and housed in Kennington, Lambeth, South London. [1]

1967-70: Part-Time lecturer in Typography, School of Art, Watford College.

of Technology, Herts.

1968-72: Visiting lecturer in Graphic Design, Central School of Art & Design, London.

1973: Visiting lecturer, London College of Printing.

1974.75: Visiting lecturer, Goldsmith's College, University of London.

1988: Visiting lecturer in Graphic Design, Royal College of Art

1990-2000: University of Brighton, School of Graphic Design, visiting

lecturer.

1991-2006: Typography Workshops at Royal College of Art

1994: Colchester Institute, School of Art, visiting lecturer.

1993-1995: Glasgow School of Art, visiting lecturer.

1999: Stamps for Royal Mail: Magna Carta Millennium series [5]

2002: Poems on the buses for Transport for London

2002: Posters for the National Theatre's Transformation season of plays

2002: Stamps for the Royal Mail: Love Occasion series

2001/2003: Typographic artwork for The Guardian Newspaper[3]

2003: Typographic artworks for VSO poster campaign 'We need professionals'

2003: Typographic mural for The Guardian Newspaper building reception

1992: Gallery at Pentagram, SOLO SHOW

1993: Royal College of Art, SOLO SHOW

1994: Crafts Council 'True to Type', 5 works, catalogue, ISBN 1870145 35 6

1994: D&AD "Festival of Excellence', 4 works

1994: Paperpoint shop, several works

1996: '20 Designers for a Silhouette', Centre Pompidou, Paris

1996: Royal Mail Stamps, London

1997: 'British Graphic Design', Cologne, Germany

1997: The Gallery at Pentagram, London

1998: Coningsby Gallery SOLO SHOW

2000: 'Powerhouse', UK

2001: Gallery at Pentagram, 'In Darkest England'

1998: The British Pavilion, 'Information expertise @ UK'; The Library and Information Commission, Amsterdam

1999: 'A K TypeArt 98', The Coningsby Gallery, London, one man show

2002: Gallery at Pentagram, London, one man show

2004: Public Address System, London and Berlin

2004: Pax Britannica, London Advanced Graphics London

2016: Somerset House [6]

2016: Suffolk

2016: The Lighthouse, Glasgow

1994: icograda, London

1995: icograda, Lisbon

1995: AGI (Alliance Graphique Internationale), Amalfi, Italy

1997: AGI (Alliance Graphique Internationale), Barcelona, Spain

1998: A Typ.1, Lyon, France

2002: University of NSW Sydney & AGI Ideas Melbourne Australia

2002: AGI (Alliance Graphique Internationale), Zurich/Pontresina, Switzerland

2003: Typo3 Johannesburg SA

2004: London College of Communication 23/6/04

2004: Forum Laus, Barcelona May 2004

2005: AGI (Alliance Graphique Internationale), Berlin

Guest lectures / Workshops

1999-2000: Hereford - College of Art

2000: Rotterdam - Willem de Kooning Academie

2002: Copenhagen - I T University

2004: D&AD Workout

2004: University of Delaware

2015: Workshop, Tipoteca, Italy Books on Alan Kitching or featuring work

1966: 'Frontiers of Printmaking', Michael Rothenstein, Library of Congress 66-24551

1974 Printed in Watford, Watford School of Art, Herts.

1993: The Sixties, David Mellor

1994: D&AD Annual

1995: D&AD Annual

1996 D&AD Annual

1996: 'G1 subj: contemp, design, graphic,

1996: 'A Double Life of 80 AGI designers .....' Armando Milani/Burgo

1997 'First Choice', Ken Cato, ISBN

1999: Royal Mail Millennium Stamps

1999: New Design: London, The Edge of Graphic Design, Ed. E.M.Gomez, Rockport, USA, ISBN 1-56496-562-7 D&AD Annual

2001: Master of the 20th Century, Ed. Mervyn Kurlansky/Icograda, Graphis, New York ISBN 1-888001-85-2

2000: Anthony Froshaug: Typography & Texts (2 vols), Robin Kinross ISBN 0-907259-13-8

2002: Helvetica - Homage to a Typeface, Lars Müller, Switzerland ISBN 3-907044-87-8

2003: Creative Island, John Sorrell, Lawrence King, ISBN 1-85669-305-8

2002: The Graphics Book, D&AD, Rotovision, ISBN 2-88046-550-8

2003: The Thames & Hudson Dictionary of Graphic Design and Designers

2015: A-Z in Letterpress, Laurence King, London, ISBN 9781780674810

2016: A Life in Letterpress, Laurence King, London

1970: 'Typography Manual', School of Art, Watford College of Technology

2016. ' A life in Letterpress, Laurence King, London.

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Alan Kitching RDI AGI Hon FRCA (born 1940), is a practitioner of letterpress typographic design and printmaking. Kitching exhibits and lectures across the globe, and is known for his expressive use of wood and metal letterforms in commissions and limited-edition prints. Born 1940 in Darlington, Co. Durham, he was an apprentice compositor (1956-61).

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i created a gift with photoshop and i create a movement as you on the document

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Whilst this file clearly illustrates your ability top select, copy and move a selection, it does not actually 'play' as demonstrated in class and the posted video walk through.
Karl (10/2/21)

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originated in Russia beginning in 1915 by Vladimir Tatlin and Alexander Rodchenko. n was an artistic and architectural
philosophy.
Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space.
Constructivists were in favour of art for propaganda and social purposes, and were associated with Soviet socialism.
In architecture also art had a great effect on modern art movements of the 20th century.

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The cover of Konstruktivizm by Aleksei Gan, 1922

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The cover of Konstruktivizm by Aleksei Gan, 1922

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Proun Vrashchenia' by El Lissitzky, 1919

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Proun Vrashchenia' by El Lissitzky, 1919

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Vladimir Tatlin - Model for the Monument 

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Vladimir Tatlin - Model for the Monument 

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Was a Russian artist, sculptor, photographer, and graphic designer.  he born on 5 of December 1891 and he dies on 3 of December 1956He was one of the founders of constructivism and Russian design.
he's wife is an artist as well Varvara Stepanova.
he also was one of the most versatile constructivist and productivist artists to emerge after the Russian Revolution.
His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic.

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Alexander Rodchenko Dance. An Objectless Composition, 1915.

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Alexander Rodchenko Dance. An Objectless Composition, 1915.

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 In All Branches of Knowledge, 1924Poster reproduction

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 In All Branches of Knowledge, 1924Poster reproduction

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The name Bauhaus is the union of the German words Bau, "building", and Haus, "house"
The Bauhaus founder was an architect. Bauhaus, was the school of architecture, design, crafts and art founded in 1919 by Walter Gropius in Weimar (Germany)
Walter Adolph Georg Gropius, founder of the Bauhaus, was born in Berlin on May 18, 1883. He was the son and grandson of architects, studied architecture in Munich and Berlin. The Bauhaus was forced to close down in 1933 due to pressure from the Nazis. However, its ideas continued to spread all over the world along with the emigrating Bauhaus members - to the USA, Switzerland, Russia, Israel and many other countries.

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Max Miedinger born in Zurich, December 24, 1910 - March 8, 1980.
He was a Swiss typographer, famous mainly for creating the Helvetica font in 1957. His design is based on an earlier typeface called Berthold.
was a German type designer and calligrapher who lived in Darmstadt, Germany.

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Hermann Zapf ( German: ; 8 November 1918 - 4 June 2015) was a German type designer and calligrapher who lived in Darmstadt, Germany. He was married to the calligrapher and typeface designer Gudrun Zapf-von Hesse. Typefaces he designed include Palatino, Optima, and Zapfino.

Zapf was born in Nuremberg during turbulent times marked by the German Revolution of 1918-1919 in Munich and Berlin, the end of World War I, the exile of Kaiser Wilhelm, and the establishment of Bavaria as a free state by Kurt Eisner. In addition, the Spanish flu pandemic took hold in Europe in 1918 and 1919. Two of Zapf's siblings died of the disease. Famine later struck Germany, and Zapf's mother was grateful to send him to school in 1925, where he received daily meals in a program organized by Herbert Hoover. In school, Zapf was mainly interested in technical subjects. One of his favorite books was the annual science journal Das neue Universum (The New Universe). He and his older brother experimented with electricity, building a crystal radio and an alarm system for his house. Even at this early age, Zapf was already getting involved with type, inventing cipher alphabets to exchange secret messages with his brother.

Zapf left school in 1933 with the ambition of pursuing a career in electrical engineering. However, his father had become unemployed and was in trouble with the newly established Third Reich, having been involved with trade unions, and was sent to the Dachau concentration camp for a short time.

Under the new political regime, Zapf was not able to attend the Ohm Technical Institute in Nuremberg, and therefore he needed to find an apprenticeship. His teachers, aware of the new political difficulties, noticed Zapf's skill in drawing and suggested that he become a lithographer. Each company that interviewed him for an apprenticeship would ask him political questions, and every time he was interviewed, he was complimented on his work but was rejected. Ten months later, in 1934, he was interviewed by the last company in the telephone directory, and the company did not ask any political questions. They also complimented Zapf's work, but did not do lithography and did not need an apprentice lithographer. However, they allowed him to become a retoucher, and Zapf began his four-year apprenticeship in February 1934.

In 1935, Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave him his first interest in lettering. Zapf bought two books there, using them to teach himself calligraphy. He also studied examples of calligraphy in the Nuremberg city library. Soon, his master noticed his expertise in calligraphy, and Zapf's work shifted to retouching lettering and improving his colleagues' retouching.

A few days after finishing his apprenticeship, Zapf left for Frankfurt. He did not bear a journeyman's certificate and thus would not be able to get a work permit at another company in Nuremberg, as they would not have been able to check on his qualifications. Zapf went to the Werkstatt Haus zum Fürsteneck, a building run by Paul Koch, son of Rudolf Koch. He spent most of his time there working in typography and writing songbooks.

Through print historian Gustav Mori, Zapf came into contact with the type foundries D. Stempel, AG, and Linotype GmbH of Frankfurt. In 1938, he designed his first printed typeface for them, Gilgengart, a Fraktur.

On 1 April 1939, Zapf was conscripted and sent to Pirmasens to help reinforce the Siegfried Line against France. As a consequence of hard labor, he developed heart trouble in a few weeks and was given a desk job, writing camp records and sports certificates in Fraktur.

World War II broke out in September, and Zapf's unit was to be taken into the Wehrmacht. However, because of his heart trouble, Zapf was not transferred to the Wehrmacht but was instead dismissed. On 1 April 1942, he was summoned again for the war effort. Zapf had been chosen for the Luftwaffe, but instead was sent to the artillery in Weimar. He did not perform well, confusing left and right during training and being too cautious and clumsy with his gun. His officers soon brought an unusually early end to his career in the artillery.

Zapf was sent back to the office and then to Jüterbog to train as a cartographer. After that, he went to Dijon and then Bordeaux, joining the staff of the First Army. In the cartography unit at Bordeaux, Zapf drew maps of Spain, especially the railway system, which could have been used to transport artillery had Francisco Franco not used narrow-gauge tracks to repair bridges after the Spanish Civil War. Zapf was happy in the cartography unit. His eyesight was so good that he could write letters 1 millimeter in height without using a magnifying glass, and this skill probably prevented him from being commissioned back into the army.

After the war had ended, Zapf was held by the French as a prisoner of war at a field hospital in Tübingen. He was treated with respect because of his artwork and, on account of his poor health, was sent home only four weeks after the end of the war. He went back to Nuremberg, which had suffered great damage in air raids.

Zapf taught calligraphy in Nuremberg in 1946. He returned to Frankfurt in 1947, where the type foundry Stempel offered him a position as artistic head of their printshop. They did not ask for qualifications, certificates, or references, but instead only required him to show them his sketchbooks from the war and a calligraphic piece he did in 1944 of Hans von Weber's "Junggesellentext".

One of Zapf's projects was the book Feder und Stichel ("Pen and Graver"), printed from metal plates designed by Zapf and cut by the punchcutter August Rosenberger during the war. It was printed at the Stempel printshop in 1949.

From 1948 to 1950, Zapf taught calligraphy at the Arts and Crafts School in Offenbach, giving lettering lessons twice a week to two classes of graphics students. On 1 August 1951 he married Gudrun von Hesse, who taught at the school of Städel in Frankfurt.

Most of Zapf's work as a graphic artist was in book design. He worked for various publishing houses, including Suhrkamp Verlag, Insel Verlag, Büchergilde Gutenberg, Hanser Verlag, Dr. Ludwig Reichert Verlag, and Verlag Philipp von Zabern.

Zapf's career in type design spanned the three most recent stages of printing: hot metal composition, phototypesetting (also called cold type), and digital typesetting. His two most famous typefaces, Palatino and Optima, were designed in 1948 and 1952, respectively. Palatino was designed in conjunction with August Rosenberger, with careful attention to detail. It was named after the 16th-century Italian writing master Giambattista Palatino. It became better known after it became one of the core 35 PostScript fonts in 1984, bundled with virtually all PostScript devices from laser printers to imagesetters. Optima, a flared sans-serif, was released by Stempel in 1958. Zapf intended the design to bridge serifs and sans serifs and to be suitable for both headings and continuous passages of text.

Zapf's work reached into a range of genres. While Palatino and Optima are warm, organic designs inspired by Italian Renaissance calligraphy, printing and stonecarving, he also designed a number of serif text fonts, such as Melior, in the more austere, classical style, following the work of the great German neoclassical printer Justus Erich Walbaum. His sans serif series URW Grotesk was designed for newspaper use and presents a wide range of widths and weights, reminiscent of geometric sans serif fonts like Futura but in a more eccentric style. Several of his more geometric designs, like both of these, make use of superellipses, squarish designs incorporating a slight curve. Opinion on Zapf's later designs has not always been favourable: Maxim Zhukov remembered his contemporary Adrian Frutiger commenting, with reference to URW Grotesk, that Zapf was "not a sans-serif man" at a conference in 1990, and graphic designer Dan Margulis commented on a retrospective that "he participated in the 1980s trend toward faces with very large x-heights and tight letterfits; his major works in that genre, Zapf Book and Zapf International, have deservedly been forgotten... you would have to say that his historical standing will be based on the first ten years of his professional career."

Zapf's later releases for Linotype in the 1990s and 2000s, often created in collaboration with Akira Kobayashi, were radical reformations of his previous work, often removing compromises that had been necessary in the manufacture of metal type. In this period he created Palatino Sans, a more informal modulated sans serif than Optima.

Zapf's typefaces have been widely copied, usually, but not always against his will. The best-known example may be Monotype's Book Antiqua, which was included in Microsoft Office and is often considered an imitation of Palatino. In 1993, Zapf resigned from ATypI (Association Typographique Internationale) over what he viewed as its hypocritical attitude toward unauthorized copying by prominent ATypI members. At a 1994 conference of the Raster Imaging and Digital Typography association in Darmstadt, Germany, a panel discussion on digital typefaces and designers' rights strongly criticized the alleged plagiarism of Zapf's Palatino, while several Microsoft attendees listened in the audience. In 1999, Microsoft worked with Zapf and Linotype to develop a new, authorized version of Palatino for Microsoft, called Palatino Linotype.

Sometimes, however, Zapf worked with a font maker to make new versions of his existing typefaces created for another company. For example, in the 1980s Zapf worked with Bitstream to make versions of many of his prior typefaces, including Palatino, Optima and Melior, all with "Zapf" in their new names.

Zapf is considered one of the great calligraphers, but he did not work extensively doing commercial lettering and calligraphy. His largest calligraphic project was the " Preamble to the United Nations Charter", written in four languages, commissioned by the Pierpont Morgan Library in New York in 1960, for which he received $1000. But his ideas about calligraphy indirectly influenced the look of the mid-20th century as he served as a consultant to Hallmark Cards throughout the 1960s and 70s, helping them to develop a style manual for their lettering artists. His calligraphy was primarily limited to studies and personal works of art. He also taught calligraphy as a part of his workshops every summer at Rochester Institute of Technology during the 1980s.

Zapf worked on typography for computer programs from the 1960s onwards. His ideas were considered radical, not taken seriously in Germany, and rejected by the Technische Universität Darmstadt, where he lectured from 1972 to 1981. Because he had no success in Germany, Zapf went to the United States, where he lectured about computerized typesetting, and was invited to speak at Harvard University in 1964. The University of Texas at Austin was also interested in Zapf and offered him a professorship, which he did not take, because his wife opposed a move to that state.

Because Zapf's plans for the United States had come to nothing, and because their house in Frankfurt had become too small, Zapf and his wife moved to Darmstadt in 1972.

In 1976, Rochester Institute of Technology offered Zapf a professorship in typographic computer programming, the first of its kind in the world. He taught there from 1977 to 1987, flying between Darmstadt and Rochester. There he developed his ideas further, with the help of his connections in companies such as IBM and Xerox and his discussions with computer specialists at Rochester. A number of Zapf's students from this time at RIT went on to become influential type designers, including Kris Holmes and Charles Bigelow, who together created the Lucida type family. Other prominent students include the calligrapher and type designer Julian Waters and book designer Jerry Kelly.

In 1977, Zapf and his friends Aaron Burns and Herb Lubalin founded Design Processing International, Inc., in New York and developed typographical computer software. It existed until 1986, when Lubalin died. Zapf and Burns founded Zapf, Burns & Company in 1987. Burns, also an expert in typeface design and typography, was in charge of marketing until his death in 1992. Shortly before, two of their employees had stolen Zapf's ideas and founded a company of their own.

Zapf knew that he could not run an American company from Darmstadt and did not want to move to New York. Instead, he used his experience to begin the development of a typesetting program, the " Hz-program", building on the hyphenation and justification system in TeX.

During financial problems and bankruptcy of URW++ in the mid-1990s, Adobe Systems acquired the Hz patent(s) and later made some use of the concepts in their InDesign program.

In 1983, Zapf completed the typeface with Donald Knuth and graduate students in Knuth's and Charles Bigelow's digital typography program at Stanford University, including students Dan Mills, Carol Twombly, and David Siegel and Knuth's computer science PhD students Scott Kim and John Hobby, for the American Mathematical Society. Euler digital font production was eventually finished by Siegel as his M.S. thesis project in 1985. Euler is a typeface family for mathematical composition including Latin, Fraktur and Greek letters. After Siegel finished his studies at Stanford and was interested in entering the field of typography, he told Zapf his idea of making a typeface with a large number of glyph variations and wanted to start with an example of Zapf's calligraphy, which had been reproduced in a publication of the Society of Typographic Arts in Chicago.

Zapf was concerned that this was the wrong way to go, and while he was interested in creating a complicated program, he was worried about starting something new. However, Zapf remembered a page of calligraphy from his sketchbook from 1944 and considered the possibility of making a typeface from it. He had tried to create a calligraphic typeface for Stempel in 1948, but hot metal composition placed too many limits on the freedom of swash characters. Such a pleasing result could only be achieved using modern digital technology, and so Zapf and Siegel began work on the complicated software necessary. Siegel also hired Gino Lee, a programmer from Boston, Massachusetts, to work on the project.

However, just before the project was completed, Siegel wrote a letter to Zapf, saying that his girlfriend had left him and that he had lost all interest in anything. Siegel abandoned the project and started a new life, working on bringing color to Macintosh computers and later becoming an Internet design expert.

The development of Zapfino had become seriously delayed until Zapf presented the project to Linotype. The company was prepared to complete it and reorganized the project. Zapf worked with Linotype to create four alphabets and various ornaments, flourishes, and other dingbats. Zapfino was released in 1998.

Later versions of Zapfino using the Apple Advanced Typography and OpenType technologies were able to make automatic ligatures and glyph substitutions (especially contextual ones, in which the nature of ligatures and substituted glyphs is determined by other glyphs nearby or even in different words), to more accurately reflect the fluid and dynamic nature of Zapf's calligraphy.

Zapf died on 4 June 2015, at the age of 96 in Darmstadt, Germany.

Zapf designed the following typefaces:

Zapf starred in the film The Art of Hermann Zapf, produced in 1967 at Hallmark Cards in Kansas City, Missouri, and in Zapf's design studio in Dreieichenhain, Germany. He was also featured in the 2007 documentary by Gary Hustwit.

Cusick, Rick (2011). What Our Lettering Needs: The Contribution of Hermann Zapf to Calligraphy & Type Design at Hallmark Cards. RIT Cary Graphic Arts Press. An account of Zapf's contributions to the artistry and success of Hallmark Cards.

Kelly, Jerry (2009). "Hermann Zapf: A survey of his early books". Parenthesis 16. pp. 12-15.

Weichselbaumer, Nikolaus. Der Typograph Hermann Zapf: Eine Werkbiographie. Berlin and Boston: De Gruyter. ISBN 978-3-11-041498-1.

Calligraphic Salutations: Hermann Zapf's Letterheadings to Paul Standard. Collection of calligraphic embellishments that appeared at the heads of letters written by Zapf to Paul Standard in the 1940s and 1950s.

August Rosenberger 1893-1980: A Tribute to One of the Greatest Masters of Punchcutting, an Art Now All but Extinct. Zapf's tribute to Rosenberger, with his recollections of their collaboration in Germany during and after World War II.

The World of Alphabets by Hermann Zapf: A Kaleidoscope of Drawings and Letterforms. CD-ROM illustrating Zapf's typographic designs.

Spend Your Alphabets Lavishly!: The Work of Hermann & Gudrun Zapf. Collection of works by Hermann and Gudrun Zapf.

Alphabet Stories: A Chronicle of Technical Developments by Hermann Zapf (Alphabetgeschichten, in the German edition). Narrative encompassing Zapf's life and work from his childhood in Nuremberg though the release of his typeface designs by Linotype GmbH. The first edition was published in 2007.
The second edition, published in 2008, includes an added a two-colour insert of letterpress-printed broadsides designed by Zapf, typeset in his metal Virtuosa and printed at the RIT Cary Graphic Arts Collection.

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Hermann Zapf ( German: ; 8 November 1918 - 4 June 2015) was a German type designer and calligrapher who lived in Darmstadt, Germany. He was married to the calligrapher and typeface designer Gudrun Zapf-von Hesse. Typefaces he designed include Palatino, Optima, and Zapfino.

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Remember Helvetica - the '70s most popular font? Then, graphic designers included Helvetica - more than 86 true versions are offered - on almost everything printed, except, perhaps, Lone Star beer bottles. Remarkably, Helvetica is more than 50 years old, but it's far from forgotten. 3M, Agfa, American Airlines, BMW, Caterpillar, Harley-Davidson, Jeep, JCPenney, Lufthansa, Microsoft, Mitsubishi Electric, Target, The North Face, Toyota, Panasonic, Motorola, Kawasaki, Verizon Wireless and many other companies use Helvetica-based logos.
Germany's early 20th century Bauhaus design movement influenced Helvetica (in Latin, the name means "Swiss") which was created as a neutral type, one that wouldn't visually convey emotion or meaning. I'm not sure the neutrality persists, because, today, the font is commonly applied to corporate imaging. Generally, to designers and design salespeople, it symbolizes modernity, boldness, clarity and strength. This present-day, almost-compulsory classification demonstrates that widely-distributed imagery, just like common product names (Kleenex, Xerox), often becomes a collective form.
As owl images symbolize wisdom, and elephant icons represent strength, popular fonts can (also) acquire a universal significance.
The Bauhaus design movement was a school of art, architecture and design that incorporated no-nonsense materials and economic thoughtfulness. In the '20s, Bauhaus designers believed in that day's technology and urban lifestyles.
The Bauhaus school, conceived in1919 by Walter Gropius, until 1933 had technology and economic assets that influenced modern design. Not surprisingly, its unadorned, practical style clashed with the then-popular styles, fashion and popular Gothic-based architecture, which is best illustrated by Paris' Notre Dame Cathedral.
Remember, also, the art-nouveau and art-deco schools co-existed, but also clashed with Bauhaus
design principles. And, although Frank Lloyd Wright denied any association with the Bauhaus group, his architectural practicality reflects some influence.
Equally interesting, perhaps, is that Tel Aviv, because of its more than 4,000 Bauhaus buildings, was declared a UNESCO, World Cultural Heritage site in 2003.
The Bauhaus blood bond to modern design also reinforces Helvetica's misplaced, design-neutrality status. For example, the very contemporary, Society for Environmental Graphic Design (SEGD) magazine's masthead - segdDESIGN - is set in Helvetica Bold.
SEGD boasts more than 1,600 members who "...work in planning, design, fabrication, and implementation of communications in the built environment." Member's projects include the 125-ft.-high, American Eagle Outfitter's Times Square spectacular (see ST, January 2010, page 58) designed by Baltimore's Barnycz Group. The American Eagle logo font is FF DIN, and I'll have more on it in a minute.
Barnycz also designed the Crown Fountain at Chicago's Millennium Park.
Sans-serif Futura was the Bauhaus designer's chosen font, although, originally, the font was so disliked it was called "grotesque." Again, it conflicted with the status quo, but represented the core of Bauhaus ideology: an unembellished type with severe geometric lines.
Helvetica followed Futura. Haas Type Foundry's (Münchenstein, Switzerland) Max Miedinger and Eduard Hoffmann designed Helvetica in 1957. Its first version was called Neue Haas Grotesk (New Haas Grotesque). In 1960, the firm's marketing director smartly changed the name to the more marketable "Helvetica."
Monotoype Imaging's fonts.com website lists 34 available Helvetica fonts plus a 51-font, Neue Helvetica's® design upgrade pack. Neue Helvetica, a rework of the original, came to market in 1983. In 2004, Linotype introduced a Neue Helvetica Pro, an OpenType version with expanded foreign-language support.
Helvetica's distinctive characteristics are its characters' monotone stroke weights and vertical and horizontal stroke terminations, its equal, negative-space values around the letters, and, perhaps best, Helvetica is legibility when in motion.
Linotype describes Helvetica as an all-purpose type design that can deliver practically any message clearly and efficiently; it's also a good choice for secondary type.
An interesting alternate choice for Helvetica, although it lacks the boldness, is American Eagle Outfitters logo typeface - FF DIN.
FF DIN is another German-based typeface. Created by Albert-Jan Pool in 1995, it's taller, thinner and more mechanical than Helvetica.
Geo Magazine uses FF DIN, as does the Centre Pompidou in Paris, for its directional signage.
In a Fontshop.com interview, Pool said legibility is the principal of information design. "You read a traffic sign," he said, "and accept it as pure information. You don't need to think it over again - Berlin is Berlin, what else could it be?"
Artdesignschools.com voted Helvetica as the most influential and widely used font. It rated Futura (spawned by the Bauer type foundry in 1927) second, but recommends it for not-so-large use.
In popularity, the school voted Garamond to follow Futura. Garamond was created in the 1540s for the French King Fancis. The modern version is Adobe Garamond, which appears in various editions of Harry Potter books.
Fourth is Bodoni, which has been in use for 300 years for, mostly, posters and displays. Bodoni is followed by Frutiger, which was first used as signage in Paris' Charles De Gaulle airport. Adrian Frutiger designed the font for signs, symbols and displays.
Trajan bold, sixth, was the Titanic poster font and, number seven, Myriad, is Apple's corporate font. The Minion font rates eight and Bembo nine, with Baskerville following after. John Baskerville created this font in 1757.
Next, the website successively rated Rockwell, Verdana (the Rocky film logo), Franklin Gothic, Times New Roman (commissioned by the British newspaper The Times in 1931), Gill Sans, Univers, Clarendon (once, but no longer used by the U.S. National Park Service for traffic signs), FF DIN (American Eagle), Avenir and Warnock Pro (Robert Slimbach designed Warnock Pro as an Adobe Originals type; it's named after Adobe Systems co-founder John Warnock).
Finally, and although its true that the 1957 (James Dean era) Helvetica has become khaki-pants corporate, it remains, still, a practical and attractive type choice. Its hygienic image also allows you to go industrial - and, its inherent Bauhaus character continues to advocate modern design.
...
"Typography must be as beautiful as a forest, not like the concrete jungle of the tenements ... It gives distance between the trees, the room to breathe and allows for life."
- Adrian Frutiger

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Remember Helvetica - the '70s most popular font? Then, graphic designers included Helvetica - more than 86 true versions are offered - on almost everything printed, except, perhaps, Lone Star beer bottles. Remarkably, Helvetica is more than 50 years old, but it's far from forgotten.

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Is an illustrator and designer from Seville (Spain). She has worked as a media planner, production designer and 2D animation for different companies. Her experience in the plastic arts led Isabel to specialize in the art of collage, and make it her favorite form of artistic expression.

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In this collage you can see different celebrities, on the other hand the bottom part of the image which has the title of the Beatles catches my attention, on the other hand it is a tropical style with a blue background and palm trees, as well as statues , dolls, musical instruments etc. It is colourful and striking you can also see that they have made figures with roses in different colours. I think this collage was created with adobe photoshop, and the style it has reminds me of the 90's, finally in the way that the images have been placed it reminds me of the Dada style

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In this image you can see that it seems that the woman is saying the name (Fran Ferdinand out loud. You can also see that the letters are in different sizes to achieve the 3D effect as well as the colour of the cover is striking, but It is mostly focused on the name.This style is Alexander Rodchenko, finally it reminds me of the 90s and the position of the girl is like raising her voice aloud.