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With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot .
Plakatstil and Sachplakat are both early 20th-century German poster styles, but they have distinct approaches to visual communication. Plakatstil, or "poster style," emerged around 1905, pioneered by artists like Lucian Bernhard. This style focuses on extreme simplicity, using flat, high-contrast colors, bold typography, and minimal detail.
Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case.
A 1969 Swiss poster in International Typographic Style A 1959 Swiss poster. The style emerged from a desire to represent information objectively, free from the influence of associated meaning. The International Typographic Style evolved as a modernist graphic movement that sought to convey messages clearly and in a universally straightforward ...
Peignot (pronounced Pen-yoe) is a sans-serif display typeface, designed by the poster artist A. M. Cassandre in 1937. [1] It was commissioned by the French type foundry Deberny & Peignot. [2] The typeface is notable for not having a traditional lowercase, but in its place a "multi-case" combining traditional lowercase and small capital ...
Typography utilized to characterize text: Typography is intended to reveal the character of the text. Through the use of typography, a body of text can instantaneously reveal the mood the author intends to convey to its readers. The message that a body of text conveys has a direct relationship with the typeface that is chosen.
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