NATALIE CRUMTypograpgy Portfo l io crum6299@vandals .u idaho.eduwww.behance.net/Nata l ieCrum

NATALIE CRUMTypograpgy Portfo l io

bauhausthe

a new unity

art and craft

berlin

dessau

weim

ar

1933

1919

school of building

ludwig meis

van der rh

one

founder,

walter g

ropius

hannes meyer

27

AND TYPE

A M O D E R N M A R R I A G EFor a

graphic de-signer who accepted

the Modernist principle of the unity of the arts—that graphic

design and typography share the same the-oretical base as architecture, that they arise from

the same mindset and occupy the same visual land-scape—the new architecture of lower Manhattan stumps me. At

Ground Zero, the 7 World Trade Center corporate Tower #1 by Skidmore, Owings and Merrill (SOM) has nearly topped out and has secured its first tenant; Tower #2, just announced, will be by British architect Norman Foster, designer of the controversial Swiss Re London tower shaped like a steel pickle, and Santiago Calatrava's soaring white glass bird for the WTC Trans-portation Hub, is set to fly by 2009. What is comparable to all this develop-ment in graphic design and typography?

Is there a unity of the arts in the Post-Post-Modern era?

ARCH ITECTURE

27

AND TYPE

A M O D E R N M A R R I A G EFor a

graphic de-signer who accepted

the Modernist principle of the unity of the arts—that graphic

design and typography share the same the-oretical base as architecture, that they arise from

the same mindset and occupy the same visual land-scape—the new architecture of lower Manhattan stumps me. At

Ground Zero, the 7 World Trade Center corporate Tower #1 by Skidmore, Owings and Merrill (SOM) has nearly topped out and has secured its first tenant; Tower #2, just announced, will be by British architect Norman Foster, designer of the controversial Swiss Re London tower shaped like a steel pickle, and Santiago Calatrava's soaring white glass bird for the WTC Trans-portation Hub, is set to fly by 2009. What is comparable to all this develop-ment in graphic design and typography?

Is there a unity of the arts in the Post-Post-Modern era?

ARCH ITECTURE

29

E arly Modern theorists stressed the oneness of style: Le Corbusier said in 1923, “Style is a unity of principles animating all the work of an epoch, the result of a state of mind that has its own special character. Our own epoch is determining, day by day, its own style." Gropius went

further in recognizing, "the common citizenship of all forms of creative work and their logical interdependence on one another in the modern world." Alvin Lustig, whose early

early death deprived Yale of a serious design theorist, hoped for "the kind of rela-tionship that existed in earlier periods between objects—the great symbolic spark that jumped between a candle stick, a Gothic cathedral, or a tapestry." So, today, where is that spark? Is there any

or any "interdependence," among designers of buildings and designers of pages and graphics and illustrations and letterforms? In his 1928 mani-festo of the modern spirit in

typography, The New Typog-raphy, Jan Tschichold named Adolf Loos, Mies van der Rohe and Le Corbusier as architects expressing the spirit of mod-ernism. In this interesting work, he advised German printers to achieve the modern spirit by rejecting “old style” faces and using the nonde-script sans serifs in the type case, such as Venus. But the modern impulse stirred in designers, and new sans serifs appeared. The types of Jakob Erbar (Erbar type 1926), especially Paul Renner (Futura type 1927) and Rudolf Koch (Kabel type 1927) became widely popular from their first appearance.

Graphic design repeats in min-iature what architecture does monumentally. In my new book, Forms in Modernism; A Visual Set. The Unity of Typography, Architecture and the Design Arts, I pair similar approaches in the treatment of form by architects and design-ers. Early in the 20th century, the “stripped” Looshaus build-ing in Vienna and the “stripped” sans serifs revealed a turn from ornament to “ab-breviated” or “abstracted”

bases—the bones of the letter. Further, Tschichold claimed asymmetry as the logical order of text resulting from its hier-archy and function. In posters and book design, sans serif type, photography, rules and bars replaced fleurons and ornaments, illustrations, bor-ders and centered type. Bold and big, using all the page and its white space, this practice of asymmetrical composition became a key principle in modern graphic design, prose-lytized by the Bauhaus as well.

In my book, I show that fash-ion and furniture move in the same spirit of a period on the personal scale. Such design is part of the visual landscape, or “visual set” of the early modern period. Madeleine Vionnet and Mies van der Rohe both rejected axial sym-metry and centrality. Mies exhibited his now iconic Bar-celona pavilion in 1929, the same year Vionnet showed her wedding dress. It revealed its construction in the metallic cord seams following the fabric around the body to gather in an asymmetric focus on the left hip. (See Fig. 1, Fig. 2) Vionnet didn't study Mies; she sent her assistants to the Louvre to draw Greek drapery. There's no causal

connection, influence or even awareness of each other's work. (Even to fantasize about a meeting between them is alarming. One can only speculate that they might both have served the same rich clients.) But by

1929, both had discarded tradition in favor of a new spirit. And both used luxuri-ous materials—Mies, marble and onyx; Vionnet, ivory silk panne velvet—allowing the intrinsic elegance of materi-als, their refinement and pro-portions, to work.

In American modernism, typography also followed architecture. The Empire State Building had been con-structed in record time at the beginning of the 1930s. Amer-ican Type Founders

issued an elongated, con-densed titling face called Empire, named after the building. Huxley Vertical type and Slimline type also appeared in the ’30s. Both elongated letterforms to the condesnsing them to narrow,

anorexic stems—skyscraper types. The period exaggerat-ed thinness and tallness, and models and stars showed how it looked on the human figure. Tall buildings evolved and became New York's corporate style architecture: Helvetica type emerged as its counter-part in the 1950s. There is also 101 Barclay Street (1983), a white building imme-diately to the north of 7 World Trade Center. It is identified by modest brass titling over the main entrance. What will be their graphic counterparts?

“Graphic design repeats in miniature what architecture does monumentally.”

Photo: The Chrysler Build-ing is an Art Deco style skyscraper in New York City, located on the east side of Manhattan. At 1,046 feet, the structure was the world's tallest building for 1 year before it was surpassed by the Empire State Building.

Photo: Ill inois Institute of Technology, Crowne Hall, located in Chicago, Ill inois. Designed by Ludwig Meis Van Der Rhone in 1940.

“The common citizenship of all forms is their interdependence on one another in the modern world.”

29

E arly Modern theorists stressed the oneness of style: Le Corbusier said in 1923, “Style is a unity of principles animating all the work of an epoch, the result of a state of mind that has its own special character. Our own epoch is determining, day by day, its own style." Gropius went

further in recognizing, "the common citizenship of all forms of creative work and their logical interdependence on one another in the modern world." Alvin Lustig, whose early

early death deprived Yale of a serious design theorist, hoped for "the kind of rela-tionship that existed in earlier periods between objects—the great symbolic spark that jumped between a candle stick, a Gothic cathedral, or a tapestry." So, today, where is that spark? Is there any

or any "interdependence," among designers of buildings and designers of pages and graphics and illustrations and letterforms? In his 1928 mani-festo of the modern spirit in

typography, The New Typog-raphy, Jan Tschichold named Adolf Loos, Mies van der Rohe and Le Corbusier as architects expressing the spirit of mod-ernism. In this interesting work, he advised German printers to achieve the modern spirit by rejecting “old style” faces and using the nonde-script sans serifs in the type case, such as Venus. But the modern impulse stirred in designers, and new sans serifs appeared. The types of Jakob Erbar (Erbar type 1926), especially Paul Renner (Futura type 1927) and Rudolf Koch (Kabel type 1927) became widely popular from their first appearance.

Graphic design repeats in min-iature what architecture does monumentally. In my new book, Forms in Modernism; A Visual Set. The Unity of Typography, Architecture and the Design Arts, I pair similar approaches in the treatment of form by architects and design-ers. Early in the 20th century, the “stripped” Looshaus build-ing in Vienna and the “stripped” sans serifs revealed a turn from ornament to “ab-breviated” or “abstracted”

bases—the bones of the letter. Further, Tschichold claimed asymmetry as the logical order of text resulting from its hier-archy and function. In posters and book design, sans serif type, photography, rules and bars replaced fleurons and ornaments, illustrations, bor-ders and centered type. Bold and big, using all the page and its white space, this practice of asymmetrical composition became a key principle in modern graphic design, prose-lytized by the Bauhaus as well.

In my book, I show that fash-ion and furniture move in the same spirit of a period on the personal scale. Such design is part of the visual landscape, or “visual set” of the early modern period. Madeleine Vionnet and Mies van der Rohe both rejected axial sym-metry and centrality. Mies exhibited his now iconic Bar-celona pavilion in 1929, the same year Vionnet showed her wedding dress. It revealed its construction in the metallic cord seams following the fabric around the body to gather in an asymmetric focus on the left hip. (See Fig. 1, Fig. 2) Vionnet didn't study Mies; she sent her assistants to the Louvre to draw Greek drapery. There's no causal

connection, influence or even awareness of each other's work. (Even to fantasize about a meeting between them is alarming. One can only speculate that they might both have served the same rich clients.) But by

1929, both had discarded tradition in favor of a new spirit. And both used luxuri-ous materials—Mies, marble and onyx; Vionnet, ivory silk panne velvet—allowing the intrinsic elegance of materi-als, their refinement and pro-portions, to work.

In American modernism, typography also followed architecture. The Empire State Building had been con-structed in record time at the beginning of the 1930s. Amer-ican Type Founders

issued an elongated, con-densed titling face called Empire, named after the building. Huxley Vertical type and Slimline type also appeared in the ’30s. Both elongated letterforms to the condesnsing them to narrow,

anorexic stems—skyscraper types. The period exaggerat-ed thinness and tallness, and models and stars showed how it looked on the human figure. Tall buildings evolved and became New York's corporate style architecture: Helvetica type emerged as its counter-part in the 1950s. There is also 101 Barclay Street (1983), a white building imme-diately to the north of 7 World Trade Center. It is identified by modest brass titling over the main entrance. What will be their graphic counterparts?

“Graphic design repeats in miniature what architecture does monumentally.”

Photo: The Chrysler Build-ing is an Art Deco style skyscraper in New York City, located on the east side of Manhattan. At 1,046 feet, the structure was the world's tallest building for 1 year before it was surpassed by the Empire State Building.

Photo: Ill inois Institute of Technology, Crowne Hall, located in Chicago, Ill inois. Designed by Ludwig Meis Van Der Rhone in 1940.

“The common citizenship of all forms is their interdependence on one another in the modern world.”

January

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2 3 4 5 6 718

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25 26 27 28

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sun. mon. tues. wed. thurs. fri. sat.February

2 3 4 5 6 718

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25 26 27 28

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sun. mon. tues. wed. thurs. fri. sat.

April

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.April

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

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1421

sun. mon. tues. wed. thurs. fri. sat.May

2 3 4 5 6 718

152229

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25 26 27 28

916

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sun. mon. tues. wed. thurs. fri. sat.May

2 3 4 5 6 718

152229

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2431

25 26 27 28

916

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1421

sun. mon. tues. wed. thurs. fri. sat.

July

2 3 4 5 6 718

152229

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25 26 27 28

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sun. mon. tues. wed. thurs. fri. sat.July

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.September

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.August

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.September

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.August

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

June

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.June

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

March

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.March

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

October

2 3 4 5 6 718

152229

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2431

25 26 27 28

916

1017

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1421

sun. mon. tues. wed. thurs. fri. sat.

October

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.December

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.December

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.November

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.November

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

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1421

sun. mon. tues. wed. thurs. fri. sat.

2013 20142013 2014

January

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.January

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.February

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.February

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

April

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.April

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.May

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.May

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

July

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.July

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.September

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.August

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.September

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.August

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

June

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.June

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

March

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.March

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

October

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

October

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.December

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.December

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.November

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.November

2 3 4 5 6 718

152229

2330

2431

25 26 27 28

916

1017

1118

1219

1320

1421

sun. mon. tues. wed. thurs. fri. sat.

2013 20142013 2014

monday tuesday wednesday thursday friday saturday sundayupcoming events:

1

8 9 10

15 16 17 18 19 20

22 23 24 25 26 27

29 30

28

21

11 12 13 14

2 3 4 5 6 7

September2013

monday tuesday wednesday thursday friday saturday sundayupcoming events:

1

8 9 10

15 16 17 18 19 20

22 23 24 25 26 27

29 30

28

21

11 12 13 14

2 3 4 5 6 7

September2013

15-21October

monday tuesday wednesday thursday friday saturday

sunday

15 16 17 18 19 20

21

15-21October

monday tuesday wednesday thursday friday saturday

sunday

15 16 17 18 19 20

21

monday tuesday wednesday thursday friday saturday sundayupcoming events:

2013

1

8 9 10

15 16 17 18 19 20

22 23 24 25 26 27

29 30

28

21

11 12 13 14

2 3 4 5 6 7

February

monday tuesday wednesday thursday friday saturday sundayupcoming events:

2013

1

8 9 10

15 16 17 18 19 20

22 23 24 25 26 27

29 30

28

21

11 12 13 14

2 3 4 5 6 7

February

monday tuesday wednesday thursday friday saturday sundayupcoming events:

2013

1

8 9 10

15 16 17 18 19 20

22 23 24 25 26 27

29 30

28

21

11 12 13 14

2 3 4 5 6 7

August

monday tuesday wednesday thursday friday saturday sundayupcoming events:

2013

1

8 9 10

15 16 17 18 19 20

22 23 24 25 26 27

29 30

28

21

11 12 13 14

2 3 4 5 6 7

August

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1007 Western Avenue

Te l : 2 0 6 . 8 8 2 . 9 7 1 4 S e a t t l e , WA 9 8 1 0 4

themusiclounge.com

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Lo n eu1007 Western AveSeattle, WA 98104

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THANK YOU!Contact Me:

crum6299@vandals .u idaho.eduwww.behance.net/Nata l ieCrum