Weingart was influenced by constructivism and particularly the work of Piet Zwart, a dutch typographer who used type in a freeform way. A connection can be seen between Zwart and Weingart's use of type as image.

At Basel, "Concept" was never discussed separately from "Form," since the two were developed simultaneously. Armin Hofmann considered Weingart outstanding in his abilty to bring the "opposing forces" of type and image into "the expression of unity." Weingart's "secret" for typographic innovation and excitement was, he said, "total flexibility in the arrangement of elements in a given format." Weingart believed that typography should never be "dry" or "rigid" but even so should always have an underlying foundation of structure.

Weingart preferred sans serif type because he felt that serifs were somehwhat "noisy" and actually detracted visually from the "typographic idea." He always used Akzidenz Grotesk because "it's a little bit ugly. It has character and is monumental, strong, and direct."