The starting points of the so-called new typography are very closely connected with the development of modern art and its gradual abstraction. The emergence of modern graphic design was undoubtedly conditioned by the paintings of Piet Mondrian, Kazimir Malevich, and the compositions of Alexander Rodchenko and Lajos Kassak. Abstract motifs and pure spectral colors have become the basis of significant means, which result in the exchange of the Bauhaus and the Dutch movement De Stijl. The desire for a collective and socially just organization of society and the possibilities of products and services for all those who have no chance are characteristic of the time.The role of artists is being exploited by technology and the internet has expanded. Works of art and messages increasingly occupy spaces that are not traditionally allocated to artistic practice. The materials and methods used for creative expression, together with the possibility of new spaces for the production, exhibition, and distribution of artistic activities, are mutually divided by experienced ideas about the function of art. The example of a new artist with artistic experience allows the artist to see an increased use of technology. Artists use technology and mechanisms as tools to work with new tools for a work of art, using technology as a theme in their practice, but increasingly using it as a formula. Activist graffiti and digital technologies, as functions and symbols of the powerful and powerless, cling to critical institutional, corporate, and governmental controls. Look for transformational graffiti and technology that you can use to activate interactive, debated works inhabiting a unique realm that have no dictated artificial, technological, or activist practices, but also occupy digital space with their own opinion. Graphic design uses these features, which are as close to other art forms as performance. Rather than words written on walls carrying directly content and more, another meaning is added to the spatial. Thanks to this connection, graffiti allows it to take up a large amount of space and become an interactive medium that allows for change and an unlimited audience that is still free in this public space.We are creating digital memorial walls here.
The project deals with Bauhaus's posthumanist theories and visual aesthetics, as sustainable media and their integration on autonomous platforms. The use of computer aesthetics and 3D computer copying multi-layered and free use nowadays, refer to the original idea of avant-garde and personal free thinking. On various covers of books and albums, but mainly on political posters with inscriptions. One of the most significant political examples is the poster of Barack Obama's presidential campaign, heavily influenced by Germany's aesthetic predecessor. The very visual style of the new avatar caused a new written font.
Futura font. Designed by Paul Renner in 1927, it was created as a contribution to the New Frankfurt project. The design is based on simple geometries that have become representative of the Bauhaus style. The Futura font began to spread in pop culture. A memorial plaque on the moon in July 1969 is set in Futura. Stanley Kubrick said that Futura was his favorite typeface and used it for the 2001 film: Space Odyssey and Wes Anderson (The Royal Tenenbaums) prefers to use Futura for the opening and closing captions of films. There are often discussions about how art can exist even if it is not shown. In particular, works of art may be stored or hidden from public view and may still be awaiting prior exhibition. But in a very small interest not to show a work of art, which means that it will not allow it to be created at all. Public exhibition practice occurs where interesting and accessible questions arise regarding the relationship between art and money. The art market is - formally old - a sphere dominated by private taste. But what does this pure public taste look like, which is considered to dominate exhibition practice that surpasses private interests? It turns out that there should be a real reality that has the potential to become mass regardless of consumer taste. The inexperience with the possible experience with a possible format that has no rules for high art and so far not for advertising could play an exclusive role. The art of installation is often criticized for being "elite" and not open to the general public. Aesthetics as a philosophical tradition and academic discipline concerns and reflects the consumer of art - the ideal artistic spectator. This viewer expects the art of visiting the so-called aesthetic experience. At least from E.Kant, we know that aesthetic experience can be an experience of beauty or noble. It can be an experience of sensual pleasure. Nor can there be an "anti-aesthetic" experience of resentment evoked by a work of art that lacks all the qualities that a "positive" aesthetic expert. It can be an experience of a utopian vision that leads humanity from its current state to a new society in which there is a governing beauty. So is virtual reality an aesthetic experience for viewers, or does it evoke feelings of disgust? When you look at virtual reality as a computer in an emerging public space that has no limits and limitations, can you look at this new form of art presented as an elite form? An immediate market segment that has a chance to increase a division that has no chance of aesthetics as outrageous is the situation in the virtual license market. At one point, it became a virtual installation with fringe branches, which moved it among the elitist art. The original avant-garde nature of the Internet and an inexhaustible amount of anonymity has made the virtual world another platform, which, like another art industry, is driven very much by consumer taste.
