The continuance of the inspirational artists for font design…
Barbara Hepworth (1903 –1975) was an English sculptor. Her work exemplifies Modernism, she helped to develop modern art (sculpture in particular) in Britain.
In 1931 she joined the Seven and Five society of artists. In the same year she produced her first Pierced Form, introducing holes into British sculpture. At this time she was working increasingly towards abstraction in carved stone and wood. Using forms suggested by the natural qualities of these materials and other natural forms, she assimilated these to the human figure or to free organic forms. Her work from 1934 included nonorganic geometric abstracts. Colour was sometimes incorporated to heighten the effect of interior spaces, which became larger and more complex and expressive in the 1940s after her move from Hampstead to St Ives in Cornwall at the beginning of World War II. In the late 1950s she began to work in bronze, producing large works of monumental simplicity for landscape and architectural setting. In the 1960s she worked on a broad range of sculptures in bronze and in stone, both geometric constructions and organic forms.
Jimmie Durham (born 1940) is an American-born sculptor, essayist and poet, currently living in Europe. He became active in theatre, performance and literature related to the US civil rights movement in the 1960s. His first solo exhibition as a visual artist was in 1968. At the late 70s he created sculptures that radically challenged conventional representations of North American Indians. Since moving to Europe, Durham’s work has focused primarily on the relationship between architecture, monumentality and national narratives. His anti-architectural sculptures, performances and videos seek to liberate architecture’s privileged material, stone, from its metaphorical associations with monumentality, stability and permanence.
Alexander Calder (1898–1976) was an American sculptor best known as the originator of the mobile, a type of kinetic sculpture. He also produced numerous wire figures, notably for a vast miniature circus. The Cirque Calder can be seen as the start of Calder’s interest in both wire sculpture and kinetic art. He maintained a sharp eye with respect to the engineering balance of the sculptures and utilized these to develop the kinetic sculptures. It was the mixture of his experiments to develop purely abstract sculpture following his visit with Mondrian that led to his first truly kinetic sculptures, manipulated by means of cranks and pulleys, that would become his signature artworks. By the end of 1931, he moved on to more delicate sculptures which derived their motion from the air currents in the room, using cutout shapes reminiscent of natural forms (birds, fish, falling leaves). In 1951, Calder devised a new kind of mobile/stabile combination, related structurally to his constellations. In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1926, and continued to produce illustrations for books and journals.