A finales del Siglo XIX en la época de la Belle Époque, una serie de corrientes relacionadas con el ocultismo, el esoterismo y el culto a la muerte comenzaron a florecer entre la alta sociedad de las ciudades europeas más importantes. Era incluso extraño que tras una cena de gala no hubiese una sesión espírita o séance en la que se “jugaba” con la invocación de espíritus y demás seres o entidades de ultratumba. Con este caldo de cultivo tan peculiar, en París surgieron una serie de cabarets muy distintos a los que normalmente nos vienen a la cabeza al nombrar lugares como el Moulin Rouge y Folies Bergère.
Los aportes más valiosos al mundo del diseño sin duda los dio la Escuela de la Bauhaus. Se inauguró en Alemania en 1919 y revolucionó los parámetros académicos burgueses del arte de aquella época, estableciendo una nueva visión de lo estético y funcional entre arquitectos, escultores, pintores, etcétera.
La solicitud de información sobre esta aplicación para celular supera a las búsquedas de pornografía en Google.
La aplicación Pokémon GO ha cautivado a millones de usuarios de tal manera que, como reflejan las estadísticas de Google, en algunos momentos la cantidad de búsquedas sobre este juego superó al número de consultas sobre pornografía —en los países en donde el juego de realidad aumentada ya está disponible para su descarga—, informa el portal Nintendo Enthusiast.
Reinvention is the key to exciting typography, as old forms take in new life in the hands of enthusiastic creatives.
Bauhaus Archive identity by Sascha Lobe: Marrying the old and new to create something utterly iconic
What’s been most exciting for me over the last five to 10 years is the fantastic explosion of expressive and exploratory typography and professional fontseverywhere. I’m completely inspired by the emergence of so many type designers of tremendous skill and talent, hailing from all over the world. I admire designers like Henrik Kubel, Peter Bil’ak and Kris Sowersby, to name just a few.
They find old forms and reinvent them, or craft seemingly impossible ligatures, or make bizarre stencils, or combine shapes previously unthinkable, and they stretch readability. They increase what is possible. In my 40-plus years of designing, I don’t remember a period when typography has been better crafted, and more appreciated by non-designers. And it’s never been more fun. Every project seems to demand the invention of its own font. It’s so doable – even practical and cost-effective.
Typographic technology, art and craft are more in sync than they have ever been
Typographic technology, art and craft are more in sync than they have ever been. I marvel at the typographic dexterity and sophistication of my students. My class of seniors is completely international and diverse, but they seem to have all seized upon the creation of letterforms, in many languages and with different alphabets, to create an international way to see. We read the forms first, not the words; we understand what we see before we understand what it says. But it is literate. This is the language of our time.
Paula Scher believes typography is more appreciated than ever before
So I was astonished and delighted last year at a design conference by a presentation by Sascha Lobe on his design for the Bauhaus Archive. He began by talking about what we all believed we know from the Bauhaus: ‘Less is more’, ‘Form follows function’, etc. «Yes, that old lecture again,» I thought.
Then suddenly he began showing the absolutely crazy letterforms established by the Bauhaus designers. I must have seen them before – I know I had – but never quite this way. They hadn’t abandoned their decorative past, they had recycled and reused it. And those guys didn’t take their own advice. Form followed nothing! Less was pointless! They were playing around, having fun and reinventing form. Their work was idiosyncratic, complicated, even sometimes ornate, rich with impossible ligatures and bizarre spacing.
The Bauhaus Design Archive solves contemporary design problems
Sascha had culled the Bauhaus Archive for inspiration to solve a contemporary problem, and what he’d found through that lens was utterly contemporary. He took the crazy letterforms the designers had created and used them to build a new alphabet that married the old and new in a way that’s emblematic of the Bauhaus in of our time. It’s the best use of a combination of historical and contemporary typographic form I have ever seen. But it’s what we are all doing, have been doing and will be doing.
We constantly look for trends and want to spot what we perceive as new, and what will be influential in the future. But there isn’t really anything new. There are only individuals with passion finding interesting, challenging and often provocative ways to reinvent what will always continue.
Primera exposición retrospectiva en la Argentina de Yoko Ono (Tokio, 1933), pionera y figura ineludible del arte conceptual y participativo contemporáneo. La muestra está compuesta por más de 80 trabajos, que incluyen objetos, videos, films, instalaciones y registros sonoros producidos desde principios de los 60 hasta hoy, y tiene como eje las llamadas Instrucciones, que Ono viene desarrollando desde hace más de sesenta años.
Jorge Luis de la Vega, artista autodidacta, nació en Buenos Aires el 27 de marzo de 1930 y murió, en la misma ciudad, el 26 de agosto de 1971. Fue pintor, dibujante, grabador, cantautor, casi arquitecto, docente universitario en la UBA y en la Cornell University, perspectivista, autor de historietas, diseñador gráfico y creativo en una agencia de publicidad.
Moishindia 