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Max Bill. Max Bill. Paris: Galerie Denise René, 1971

“As promoted at the Bauhaus and other places as the neutral typeface, propagated independently of the national debate, one could believe that typewriter type would be universally applicable. The artist-typographers of the twenties and thirties were certainly fascinated with its emergence as a purely technical innovation: pitch, impression density and typewriter ribbon technology were decisive to its form and character. The subjective counterbalance was the artist’s handwriting, epitome of the individualists who once so vehemently cursed the ‘New Architects’ and the ‘New Typographers’. Abd with this, we have to some extent traced the curve -if not indeed the vaults- of Bill’s handling of printing type: his handwriting was, in later years, to give posters above all an unmistakable aura. Bill, the typeface juggler, set his image constructions up in contrast with the fluttering pulse. The catalogue for his exhibition of 1971 at the Galerie Denise René in Paris may be regarded as unicum -and perhaps, as the high point of his personal expression, also as something unique: the text and illustrations were handwritten and hand drawn by Bill.”

Hans Rudolf Bosshard. “Concrete art and typography” In: Max Bill: typography, advertising, book design. Sulgen, Zürich: Niggli, 1999 (p. 90-91)

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