3/14/16 1 ARTH 4573 HISTORY OF GRAPHIC DESIGN Section 8b –the new typography, intro to american modernism Bauhaus The New Typography (Intro to) American Modernism The New Typography: Spreading the Word Jan Tschichold Jan Tschichold, cover for “Elementare Typographie” insert, 1925 For October 1925 issue of Typographische Mitteilungen (Typographic Impartations), he designed a 24-page insert entitled Elementare Typographie. Explained and demonstrated asymmetric typography to printers (most still using Textura type and symmetrical layouts) and typesetters. Jan Tschichold, cover for “Elementare Typographie” insert, 1925 Sparse functionalism Flush Left headlines Uneven line length Sans-serif > the new modern type Lowercase WHITE SPACE, rules, bars, and boxes for structure, balance, and emphasis Objectivity of photography (vs. illustration) preferred Jan Tschichold, cover for Die Neue Typographie, 1928 Objective: functional design by the most straightforward means for communicative function Every typographic work should be the delivery of a message in the shortest, most effective manner Emphasized the nature of machine composition and its impact on the design process and product Jan Tschichold, brochure for his book Die Neue Typographie, 1928 Jan Tschichold, cinema poster for Die Hose (The Trousers), 1927 The New Typography: Spreading the Word Jan Tschichold He attended the first Bauhaus exhibition at Weimar in August of 1923. Rapidly assimilated new design concepts of Bauhaus and Russian Constructivism by way of exhibitions, became practitioner of new typography. The Bauhaus and its output were still explorations only discussed by a limited audience. But it was Jan Tschichold (German) who applied these new design approaches to everyday design problems and explained them to a wider audience of printers, typesetters, and designers.
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ARTH 4573 HISTORY OF GRAPHIC DESIGN
Section 8b –the new typography, intro to american modernism
} Bauhaus } The New Typography } (Intro to) American Modernism
The New Typography: Spreading the Word
} Jan Tschichold
Jan Tschichold, cover for “Elementare Typographie” insert, 1925
} For October 1925 issue of Typographische Mitteilungen (Typographic Impartations), he designed a 24-page insert entitled Elementare Typographie.
} Explained and demonstrated asymmetric typography to printers (most still using Textura type and symmetrical layouts) and typesetters.
Jan Tschichold, cover for “Elementare Typographie” insert, 1925
} Sparse functionalism } Flush Left headlines } Uneven line length } Sans-serif >
the new modern type } Lowercase } WHITE SPACE,
rules, bars, and boxes for structure, balance, and emphasis
} Objectivity of photography (vs. illustration) preferred
Jan Tschichold, cover for Die Neue Typographie, 1928
} Objective: functional design by the most straightforward means for communicative function
} Every typographic work should be the delivery of a message in the shortest, most effective manner
} Emphasized the nature of machine composition and its impact on the design process and product
Jan Tschichold, brochure for his book Die Neue Typographie, 1928 Jan Tschichold, cinema poster for Die Hose (The Trousers), 1927
The New Typography: Spreading the Word
} Jan Tschichold } He attended the first Bauhaus exhibition at Weimar
in August of 1923. } Rapidly assimilated new design concepts of Bauhaus
and Russian Constructivism by way of exhibitions, became practitioner of new typography.
} The Bauhaus and its output were still explorations only discussed by a limited audience.
} But it was Jan Tschichold (German) who applied these new design approaches to everyday design problems and explained them to a wider audience of printers, typesetters, and designers.
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The New Typography: Spreading the Word
} Jan Tschichold } Sans-serif - new modern type } Belief in kinetic asymmetrical design of
contrasting elements expressed the new age of the machine
} Flush Left headlines } Uneven line length } WHITE SPACE, rules, bars, boxes for
structure, balance, emphasis } Objectivity of photography preferred
The New Typography: Spreading the Word
} Jan Tschichold – } March 1933, Nazis arrested him and his wife } Accused him of being a cultural bolshevik and
creating “un-German” typography } After 6 weeks of protective custody, he was
released. He quickly took his wife and 4-year-old son and fled to Basel, Switzerland and worked primarily as book designer
} Changed to preference for work in the humanist tradition vs. sans serif
The New Typography: Typeface Design
} Eric Gill } Paul Renner } Rudolf Koch } Stanley Morrison
The New Typography: Typeface Design
} Eric Gill } Many interests from stone masonry to typeface
design to writing } In 1925, he accepted challenge of new type
design by Monotype Corporation
Eric Gill, Gill Sans type family, 1928-30
} Gill Sans created – not extremely mechanical look because proportions stem from roman tradition of typeface design
The New Typography: Typeface Design
} Eric Gill } Paul Renner } Rudolf Koch } Stanley Morrison
The New Typography: Typeface Design
} Paul Renner } During the summer of 1924, Renner started to
work on what would become a typeface for Bauer foundry in Germany
http://12darks.blogspot.com/2009/01/i-love-futura.html, 12 March 11 ^^ modern digital FONT of typeface
} Futura was a very important type of the time, especially in Germany, as it was a movement towards the modern roman letter and a departure from the Blackletter/ Textura tradition.
} GEOMETRIC perfection
The New Typography: Typeface Design
} Eric Gill } Paul Renner } Rudolf Koch } Stanley Morrison
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The New Typography: Typeface Design
} Rudolf Koch } Begun typeface Kabel in 1925 for the
Klingspor foundry. } The face was named to honor the newly completed
trans-Atlantic telephone cable.
Rudolf Koch, Kabel Light, c. 1928 http://typedia.com/explore/typeface/kabel/, 12 March 11 ^^ modern digital FONT of typeface
} Kabel is a geometric sans serif, similar to Futura.
} It is best characterized by its angular stroke endings, its Venetian e, and its distinctive g*. *similar to the lowercase g used in many Koch designs, including Koch’s Antiqua and Wallau.
The New Typography: Typeface Design
} Eric Gill } Paul Renner } Rudolf Koch } Stanley Morrison
Stanley Morison, Times New Roman, 1932 ^^ modern digital FONT of typeface
The New Typography: Designers
} ISOTYPE - International System of Typographic Picture Education
} Piet Zwart } H.N. Werkman } Herbert Matter
The New Typography: Designers
} ISOTYPE - International System of Typographic Picture Education
} (multiple designers) } This is the system of representation based on
simple images that underlies modern signs, free of linguistic or cultural barriers and immediately understandable by all.
Otto Neurath (Austrian, 1882-1945). Modern Man in the Making, Knopf, 1939, p. 85.
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The New Typography: Designers } ISOTYPE - International System of Typographic Picture Education
} Otto Neurath } Viennese philosopher, economist and social scientist. } Felt that the social and economical changes following
WWI demanded clear communication to assist public understanding of important issues related to housing, health, economics.
} A system of elementary pictographs to present complex data – esp. statistical data – was developed
} COMPLETELY functional with no decorative qualities } Had ties with the new typography movement:
Tschichold assisted him briefly; Renner’s new Futura adopted for Isotype designs
Otto Neurath and others, 1930-40. See http://gisci.files.wordpress.com/2009/02/isotype.png, 14 March 11
The New Typography: Designers
} ISOTYPE - International System of Typographic Picture Education
} Henry Beck Map for London Underground } Draftsmen } Submitted unsolicited design proposal that replaced
geographic fidelity with a diagrammatic interpretation
Henry C. Beck, map for London Underground, 1933 https://s-media-cache-ak0.pinimg.com/736x/5d/63/63/5d63638de457ac076f13b7eca082c5ea.jpg
The New Typography: Designers
} ISOTYPE - International System of Typographic Picture Education
} Piet Zwart } H.N. Werkman } Herbert Matter
Piet Zwart, folder, 1924 Piet Zwart, spread for catalog, 1926 Piet Zwart, pages from NKF Cableworks Catalogue, 1928
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The New Typography: Designers
} ISOTYPE - International System of Typographic Picture Education
} Piet Zwart } H.N. Werkman } Herbert Matter
H.N. Werkman, pages 2 and 3 from The Next Call, no. 2, January 24, 1924 H.N. Werkman, pages 4 and 5 from The Next Call, no. 2, January 24, 1924
The New Typography: Designers
} ISOTYPE - International System of Typographic Picture Education
} Piet Zwart } H.N. Werkman } Herbert Matter
Herbert Matter, Swiss tourism poster, 1934
(looking ahead to Postmodernism in next slide)
Herbert Matter, Swiss tourism poster, 1934 Paula Scher, Swatch Watch poster, 1985
} Bauhaus } The New Typography } (Intro to) American Modernism
} Bauhaus } The New Typography } (Intro to) American Modernism } 1913 } 1930s
Early 20th Century*very brief with American/western focus
} 1900-1910 } First flight, Einstein’s Theory of Relativity
} 1910-1920 } WWI, Russian Revolution, Prohibition(US), Titanic, Spanish flu
} 1920-30 } The Roaring 20s } Women’s Suffrage, first silent film, Babe Ruth, Mickey Mouse
} 1930-40 } The Great Depression, Nazis, Amelia Earhart
} 1940-50 } WWII, Atomic Bomb, apartheid
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American Modernism
} Before 1930s, dominated by traditional illustration
Image from http://www.michellehenry.fr/advertus.gif Burnett’s Vanilla from Good Housekeeping, April 1921
American Modernism
} Where modernism design introduced: } Book design } Editorial design for fashion } Business magazines for affluent audiences } Promotional and corporate graphics } Tschichold’s Elementare Typographie } Futura and Kabel available in USA
Image from http://www.michellehenry.fr/advertus.gif Lester Beall, posters for Rural Electrification Administration, c. 1937 Lester Beall, poster for Rural Electrification Administration, c. 1937
Alexey Brodovich, Harper’s Bazaar, 1934 Alexey Brodovich, Harper’s Bazaar covers, 1940s Alexander Liberman, Vogue cover art, 1945
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e.e. cummings, from Complete Poems: 1904-1962
BEFORE NEXT MONDAY: WATCH HELVETICA
} REQUIRED: Watch documentary online by next Mon (ignore subheads) instead of coming to classroom on Wed
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