Then he will be briefly incarcerated and removed from his position as director.īefore leaving his position, Renner will arrange for his friend and team member, George Trump, to take over the director's position in order to avoid an unpredictable appointment by the Nazis. The answer will not be long in coming, his apartment and office will be searched.
In 1926, Paul Renner became the director of the Munich printing school.Īfter seeing a colleague molested by Nazi sympathizers for praising modern art, Paul Renner published " Kulturbolschewismus" ("Cultural Bolshevism ?"), an essay resolutely opposed to the nazi aesthetic. The Nazis denounced these styles as "cultural Bolshevism". The criticism of abstract art and modernism is the subject of a chapter in Mein Kampf. In the mid-1920s, the prevailing conservative and nationalist discourse attacked the new artistic currents. Typographic confrontation at the top of the Third Reich However, the typefaces of this first version can be found in the Architype Renner, a font distributed by the British foundry Foundry. Its geometrical radicality took precedence over its legibility and it was thus reworked by taking into account optical phenomena, to arrive at its final version of 1927. One could indeed find in each character isosceles triangles, squares or even perfect circles (see photo below). The first version was based on strictly geometrical shapes. The development of this linear font required more than two years. The Peignot foundry bought the Futura but renamed it Europe. Maximilien Vox, artistic advisor of the famous Peignot foundry, is interested in the new European typefaces "of our time": the Gill in Great Britain, the Kabel and the famous Futura in Germany. Three years later, France discovered the Futura, thanks to the Deberny & Peignot foundry, which decided to distribute it under the name Europe.
This boldness was quickly rewarded as it was a resounding success from the moment it was released. The Futura, designed between 19, is therefore innovative for its time, because it is imbued with the modernist ideals of the Bauhaus, even though its creator was not a member. He banished the serif and introduced simplicity in his refined typefaces by using geometric figures. In the 1920s, the German typographer Paul Renner wanted to modernize typography by moving away from the heritage of calligraphy. Typography was not left out because in 1927 Paul Renner gave birth to one of the most famous fonts in history: Futura. Among these illustrious names, we can mention Simone Veil, Juliette Gréco or Albert Uderzo. The year 1927 saw the birth of some of the great figures of this world. In the manner of portraits of great designers, we continue our series on the typefaces that have marked the world of graphic design.
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