DESIGNING PROGRAMMES KARL GERSTNER PDF

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Karl Gerstner: Designing. Programmes. Programme as morphology. Progranime as logic. Programme as grid. Programme as photography. Programme as. Karl Gerstner's mysganidupo.gqmme as morphology, as logic, as grid, as photography, as literature, as music. Designing Programmes. Karl Gerstner Instead of solutions for problems, programmes for solutions — the subtitle can also be understood in these terms: for no.


Designing Programmes Karl Gerstner Pdf

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Designing Programmes by Karl Gerstner is one of the most elusive design books in the world. Brand new copies retail for over $, and even used versions. Designing Programmes Karl Gerstner Designing Programmes Download the PDF here. Download the PLAIN TEXT here. Posted 24 November. Karl Gerstner and Design Programmes. Karl Gerstner was born in Basel, Switzerland in His life was divided between being a painter and a graphic .

This is what is up to date in the situation of the new typography of After all a dream has been fulfilled, but the envisaged paradise has remained as far away as ever. In the twenties for instance it was claimed for the first time that the typographer should proceed from Today it is time at any rate so it seems to me to gain distance from the theses of the new and elementary typography of the data of his material, from the basic typographical elements; today it is hardly conceivable that he should not proceed from them.

If most of the pioneers theses have become self evident, the aes- 5 thetic criteria have been generally outlived.

For example: Is sans serif or Roman type the type of the the sum of its parts is assumed. And this vitally concerns typography. Typography is the art of making a whole out of predetermined parts. The typographer sets. He sets individual letters into words, words into sentences. Letters are the elementary particles of the written language and thus of typography.

They are figurative signs for sounds without content, parts which acquire a meaning and a value only if they are combined. This means that combinations of two, three and more letters show in any case a word-picture, but definite letters render a definite idea only in a certain sequence; literally they Such either or criteria have served their time and their purpose. Today typographers use both sans serif and Roman type, set books both symmetrically and asymmetrically, use both flush left, ragged right and flush left, flush right.

Today everything is stylistically allowable, allowable from the point of view of upto-dateness. There remain only open doors to be unlocked, as the German saying has it. And we shall not be spared the necessity of rendering an account of the state of our spiritual inheritance.

Nobody will relieve us of the task of searching for new criteria. To clarify the example from the other angle let us take four letters which can be combined in four different ways. From this we can see that only one combination makes sense. The 23 remaining are indeed both legible and pronounceable, they contain the same elements and give the same total. But they do not constitute a linguistic whole. They remain meaningless.

To the importance of the whole, the integral in general, for language and typography, is obvious. If the proportion between the correct and the possible combinations in words of four letters is 1: 24, in five-letter words it will be 1: , in six-letter words 1: , in seven-letter words 1: and so on. Typography is an art not in spite of its serving a purpose but for that very reason. The designer s freedom This means that what we can write and set with our letters in all languages if it makes sense, it makes a whole always remains a mere fraction of the mathematical possibilities of the alphabet.

Only then is the typographer free to perform as an artist when he understands and ponders his task in all its parts. And every solution he finds on this basis will be an integral one, will achieve a unity between language and type, between content and form. In our contemporary reality abstract word-creations which seem at first sight the eccentric ideas of a poet, have developed into an everyday economic factor.

Every day new words are created. Perhaps they grow out of abreviations like UNO, are pieced together Integral means: shaped into a whole.

There the Aristotelian dictum that the whole is greater than from foreign words like Ovaltine, or are new inventions like Persil; in each case they are independent of their source. And now names for industrial products are found by means of electronic computers.

This happens as follows: some three random vow- 6 els and four consonants are fed into the computer which registers in a few moments thousands of combinations, replacing imagination by mechanical choice.

These meaningless word-creations have become indispensable to publicity. The label departments As already said: In essentials these principles of elementary and functional typography are still valid and are observed to a very great extent.

Designing Programmes. Karl Gerstner

And new ones cannot be added where the solution of single problems is concerned. However, today there are some changes: the production of printed matter has assumed unforeseen proportions. Elementary optics correspond to elementary speech sounds, the formal value of the type corresponds to the acoustic value of language.

We are not only threatened by the danger of extravagance and superficiality where the individual creation, however excellent it may be, becomes lost, but also by the menace that the knowledge and experience of the Summarized pioneers, what has already been done and is generally recognized, will degenerate into mere formalism, 1.

Integral typography strives for the marriage of language and type resulting in a new unity, in a superior whole. Text and typography are not so much two consecutive processes on different levels as interpenetrating elements.

Designing Programmes. Karl Gerstner

The fulfillment of a dream threatens to become a nightmare. Today everything is stylistically allowable, allowable from the point of view of upto-dateness. There remain only open doors to be unlocked, as the German saying has it.

And we shall not be spared the necessity of rendering an account of the state of our spiritual inheritance. Nobody will relieve us of the task of searching for new criteria. To clarify the example from the other angle let us take four letters which can be combined in four different ways. From this we can see that only one combination makes sense.

The 23 remaining are indeed both legible and pronounceable, they contain the same elements and give the same total. But they do not constitute a linguistic whole. They remain meaningless. To the importance of the whole, the integral in general, for language and typography, is obvious. If the proportion between the correct and the possible combinations in words of four letters is 1: 24, in five-letter words it will be 1: , in six-letter words 1: , in seven-letter words 1: and so on.

Typography is an art not in spite of its serving a purpose but for that very reason.

The designer s freedom This means that what we can write and set with our letters in all languages if it makes sense, it makes a whole always remains a mere fraction of the mathematical possibilities of the alphabet.

Only then is the typographer free to perform as an artist when he understands and ponders his task in all its parts.

And every solution he finds on this basis will be an integral one, will achieve a unity between language and type, between content and form. In our contemporary reality abstract word-creations which seem at first sight the eccentric ideas of a poet, have developed into an everyday economic factor.

Every day new words are created. Perhaps they grow out of abreviations like UNO, are pieced together Integral means: shaped into a whole. There the Aristotelian dictum that the whole is greater than from foreign words like Ovaltine, or are new inventions like Persil; in each case they are independent of their source. And now names for industrial products are found by means of electronic computers. This happens as follows: some three random vow- 6 els and four consonants are fed into the computer which registers in a few moments thousands of combinations, replacing imagination by mechanical choice.

These meaningless word-creations have become indispensable to publicity. The label departments As already said: In essentials these principles of elementary and functional typography are still valid and are observed to a very great extent.

And new ones cannot be added where the solution of single problems is concerned. However, today there are some changes: the production of printed matter has assumed unforeseen proportions. Elementary optics correspond to elementary speech sounds, the formal value of the type corresponds to the acoustic value of language.

We are not only threatened by the danger of extravagance and superficiality where the individual creation, however excellent it may be, becomes lost, but also by the menace that the knowledge and experience of the Summarized pioneers, what has already been done and is generally recognized, will degenerate into mere formalism, 1.

Integral typography strives for the marriage of language and type resulting in a new unity, in a superior whole. Text and typography are not so much two consecutive processes on different levels as interpenetrating elements. The fulfillment of a dream threatens to become a nightmare.

Designing Programmes

Here we are not allowed to resign. Here the designer must intervene, he must in a sense aim at a larger whole; he must not continue 2. Unity is reached in different phases, each successor including to carry out the single task so much as create structures from which single solutions can be derived. This adds to the work of design a new dimension of planning, from the angle of both language and type.

The structure, once planned, always contains the elements of text and typography, always comprehends the whole and makes the single task possible. Thus work becomes more complex, and presupposes an intensified cooperation At the beginning I was rash enough to speak of searching for new criteria. Has this article been productive of such? Some of the examples cited and have already become historic documents.

See a Problem?

The problems have already arisen and they have been solved in such a way that the results have remained fresh, living exemplars. But here design acquires meaning again. The greater effort and longer time dedicated to the development of the structure pays off in the end because it makes the detail work so much easier. And finally the new experience brings forth new impulses for the work on single tasks.And what interest us are not so much the surrounding constructions as the matter itself, the individual achievement which stands finally behind collective theories.

No, this is just what is not meant. The typographical aspect of a new ism? The problems have already arisen and they have been solved in such a way that the results have remained fresh, living exemplars. Elementary optics correspond to elementary speech sounds, the formal value of the type corresponds to the acoustic value of language.

Every day new words are created. In short: From the viewpoint of the whole structure, the integral design itself gains a new 7 stability, a new up-to-dateness, a new significance in this age of short-lived production and corresponding waste of printed matter.

He visited Cassandre in Paris and came to know Tschichold in Basel. The continent of modern creation is not only discovered, but it already figures on various maps. Printed dust jacket.

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