He advocated for lower case letters, (Kleinschreibung). To him, sans serif was the only face that properly complimented photography. He supported Moholy-Nagy's typophoto approach, naming photography the preferred method of illustration. Tschichold held traditional book designers in contempt-seeing them as out of step with the world. The first examined the historical roots of the New Typography and argued for its adoption in modern times. The publication, which is today held in great reverence, was a slim, rather small publication with a black cover printed in silver ink. At the age of 26 he produced his most influential book, The New Typography. Tschichold was a prolific writer about the subject of typography, publishing 175 articles over 50 years. The content was met with great controversy but was widely adopted. Somewhat dogmatically, advance notice was posted that no discussion would follow his lectures.Ībove is the cover of Typographic Mitteilungen: Elementare Typographie, 1925, a trade magazine in which Tschichold introduced the ideas of the Russian Constructivism and The New Typography to Germany's printers. He promulgated their theories in lectures and writing. Tschichold became both a spokesman and author for the group. The New Typography was organized around these principles: Although the group had some dialogue with the Bauhaus they kept a distance, possibly for fear that either side might subsume the other's identity. It was this group that formulated the principles of what was proclaimed The New Typography. In 1927 he joined a group formed by Kurt Schwitters, The Circle of New Advertising Designers. He moved to Berlin and then to Munich where he taught at a technical college for German printers, headed by Paul Renner. Traditional layouts, or as he called them, box-style layouts, were boring and lacked hierarchy of importance. He made contact with both Moholy-Nagy and El Lissitzky and, enthusiastically embracing the ideals of Russian Constructivism, changed his first name to Iwan.Īs with Moholy-Nagy, clarity of message was Tschichold's ultimate goal and all elements on the page were configured to that end. During that year he attend an exhibition of work by Weimar Bauhaus students at which point Tschichold became a modernist convert. In 1923 he was hired at a printing firm where he drew precise page layouts to be executed by the typesetters. Unlike the avant garde artists of his era, Tschichold was a traditionally trained calligrapher and typographer and had formally studied book design at the Leipzig Academy. Tschichold's New Typography and the Relationship to the Bauhausīy the later 1920's avant garde typography was making inroads into more mainstream commercial design much through the efforts of designer Jan Tschichold.
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