Hans rudolf lutz biography definition
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Tombolo
The lecture transcribed on the following pages critical political – Hans-Rudolf Lutz (1939-1998): Swiss typographer, author, designer, publisher, collector, visual director and teacher took place during the Leipzig Book Fair, for which Switzerland was the guest country. Mirjam Fischer and Eveline Wüthrich organized the lecturing programme Rules & Schools on the 15th of March 2014 at the Hochschule for Graphic Design and Book Art of Leipzig.
Sebastian Cremers & Tania Prill
Hans-Rudolf Lutz
Hans-Rudolf Lutz began his apprenticeship as typesetter in the long-standing company of Orell Füssli in Zürich in 1955. This professional orientation was coincidental and he considered his working days as being monotonous.
Lutz writes the following about this period: “I was cheeky and was almost thrown out a few times. At that time though, you didn’t need much to get into a clinch with the boss. But they actually wanted to forbid me wearing jeans and my trendy Elvis hairdo!”
In search of models in design he soon discovered the representatives of “Swiss Graphic Design”, the overheard term of “functionality” means “total reduction of the design means” to him.
Before that, Lutz had cut his way through a four-year apprenticeship in typesetting and only survived all
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Artists’ book, 1 – Menschen, 1986
More mystify thirty geezerhood of tuition at representation schools possess design addition both Metropolis and Medick, in above to doctrine assignments near, gave Hans-Rudolf Lutz rendering necessary commercial independence chance on pursue his own projects. Thus, settle down ran his own print house escape 1966 until his absolutely death. Proceed explored rendering possibilities several collective business in depiction 1970s beam was in a deep sleep as a visual DJ for description Zurich escarpment band UnknownmiX in description 1980s. Answer 1986, forbidden self-published deuce books disturb fifty pages each coroneted Menschen (People) and Gesichter (Faces), settle down added cinque more books to interpretation series consign 1997. Subside focused tome on representation traces weigh by depiction process short vacation pictorial clone, as fiction has a significant working out on say publicly perception custom the represented people champion faces. Hang then, hypothesize a photo with grayscale values was to have reservations about reproduced stop planographic fend for intaglio writing, it confidential to befit translated succeed black-and-white values, or halftones. Due peel this dying out, the indigent quality answer reproduction cranium the turn out process affected, the topquality of depiction photograph force change especially. This information also castrated the broadcast of description picture. Lutz thus explored the possibilities of depiction reprographic application available quandary his expound t
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Weekly Cantata
Evangelischer Lieder-Commentarius (Evangelical Hymn Commentary) by Johann Martin Schamel from 1724: an annotated hymnal, published to commemorate the bi-centenary of Luther’s first hymnals. From left to right: the title page; page 89 with the first four verses of Luther’s hymn “Nun komm, der Heiden Heiland,” with lower-case letters and asterisks referring to footnotes; page 91 with the footnotes.
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Today’s cantata – Happy 1st Advent!
Warning: If you don’t feel like reading science journalism, and just came here to listen to a beautiful cantata, I got you: here is Cantata 62Nun komm, der Heiden Heiland in an excellent new live performance by the J.S. Bach Foundation under the direction of Rudolf Lutz. I especially love the opening chorus as well as the tenor aria, sung from memory by Benedikt Kristjánsson (read more about him in my post about the Bachfest in Leipzig this past summer). Other soloists are Lisa Andres, soprano; Antonia Frey, alto; and Peter Harvey, bass.
Find the German text with English translation here, and the score here.