"The designing of whole alphabets and the study of historical letter forms remain indispensable to the teaching of the form. At the same time, however, new paths must be explored so that a sense of the finest distinctions can be cultivated, so that the basic elements of our letters can appear in a new form, and so that those special abilities for combining are developed which lettering will demand in the future. The creation of all those symbols and logotypes which are an ever and more striking feature of the world in which we live calls for a new and fresh approach to lettering on the part of the designer. In these logotypes the combination of letters can be more or less obvious; but only deliberately contrived encounters of elements and confrontations of values can lead beyond the letters to new forms of expression."
- Armin Hofmann, 1965
from Graphic Design Manual, Principles and Practice
I was young and impressionable the first time I heard an Autechre track. It was illuminating, to say the least, and changed the way I thought about music. In my young mind it was impossible to separate the sound of Autechre from the look of the sleeves, created for them by The Designer's Republic. The sleeves were similarly enlightening.
"(Style) is an eternal dilemma. Time and again, individual pioneers, or groups, emerge who achieve a perfect fusion of form and content. Then comes a whole wave of imitation, which reduces the form to an aesthetic shell"
"If we must accept education as life and as preparation for life, we must relate all school work, including work in art, as closely as possible to modern problems. It is not enough to memorize historical interpretations and aesthetic views of the past or merely to encourage a purely individualistic expression. We need not be afraid of losing the connection with tradition if we make the elements of form the basis of our study. And this thorough foundation saves us from imitation and mannerisms, it develops independence, critical ability, and discipline.
From his own experiences the student should first become aware of form problems in general, and thereby become clear as to his own real inclinations and abilities. In short, our art instruction attempts first to teach the student to see in the widest sense: to open his eyes to the phenomena about him and, most important of all, to open to his own living, being, and doing."
From Black Mountain College Bulletin, Series 1, No. 2: "Concerning Art Instruction" by Josef Albers