Weingart had developed a keen sensitivity to the relationship between printing and the act of designing. Weingart produced a formidable body of experimental work in his own right: posters as well as cover designs and call-for-entry designs for Typographische Monatsblätter magazine, where he served on the editorial board from 1970 to 1988. A 1976 poster he designed and printed for photographer John Glagola includes wide silver bars printed across the artist’s name, heralding the decline of foundry type as a viable commercial means of printing.
Weingart insistently sought new ways of creating images, adopting the halftone screens and benday films used in photomechanical processes as his new tools beginning in the mid-1970s. He used the repro camera to stretch, blur and cut type—a radical new approach for marrying continuous-tone images and letters. He would say his design process relied solely on these film manipulations and overlapping colors, seen perhaps most strikingly in his work for the Basel Kunstkredit in which he uses imagery, layout and type to produce these strong pieces.Weingart experimented bringing structure to dense, complex information found in the 1974 Creative Jewellery brochure and the 1980 catalog for Art Basel. In his investigations, he sought to capture the spontaneity of his own handwriting as a form of typography, in posters announcing his 1990 retrospective exhibition at the Institute for New Technical Form in Darmstadt, Germany.
Weingart is seen as a leading figure in type within the design community, his experimental styles continue to have relevance and impact many years after it was produced. Weingart breaks the conventional rules of typography by disrupting and deforming letterforms to produce his work, always with striking visual outcomes. With the group agreeing on the concept of looking at the rules of design and how we apply them, Weingart is a perfect example of a designer who bends and breaks the rules to create strong work, his styles will be a huge influence to the type which will feature on the posters. As well his styles of production and printing shall be considered to get the rough textures and half tone effects which we are also looking for.
El Lissitzky -
Russian avant-garde artist El Lissitzky, made a career of utilising art for social and political change. Although often highly abstract and theoretical, Lissitzky's work was able speak to the prevailing political discourse of his native Russia, and then the nascent Soviet Union. Following Kazimir Malevich in the Suprematist idiom, Lissitzky used colour and basic shapes to make strong political statements. Lissitzky also challenged conventions concerning art, and his 'Proun' series of two-dimensional Suprematist paintings sought to combine architecture and three-dimensional space with traditional, albeit abstract, two-dimensional imagery. Lissitzky believed that art and life could mesh and that the former could deeply affect the latter. He identified the graphic arts, particularly posters and books, and architecture as effective conduits for reaching the public. Consequently, his designs, whether for graphic productions or buildings, were often unfiltered political messages. Despite being comprised of rudimentary shapes and colors, a poster by Lissitzky could make a strong statement for political change and a building could evoke ideas of communality.
Lissitzkys typography based pieces are not what he is known for but as seen in the examples above the relationship formed between type and layout has produced these striking pieces, usually Lissitzkys messages would be politically charged but his style to convey these messages is unique and interesting.
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