JAN TSCHICHOLD 


THE NEW 


Typocnapny 


THE FIRST ENGLISH TRANSLATION 
of the revolutionary 1928 document 
Translated by RUARI MC LEAN 


Introduction by ROBIN KINROSS 


THE NEW TYPOGRAPHY 


A CENTENNIAL BOOK 

One hundred books published be- 
tween 1990 and 1995 bear this special 
imprint of the University of California 
Press. We have chosen each Centen- 
nial Book as an example of the Press's 
finest publishing and bookmaking tra- 
ditions as we celebrate the beginning 
of our second century. 


University of California Press 
Founded in 1893 


WEIMAR AND NOW: GERMAN CULTURAL CRITICISM 
Martin Jay and Anton Kaes, General Editors 


1. 
2. 
3. 


17. 
18. 


Heritage of Our Times, by Ernst Bloch 

The Nietzsche Legacy in Germany, 1890-1990, by Steven E. Aschheim 
The Weimar Republic Sourcebook, edited by Anton Kaes, Martin Jay. 
and Edward Dimendberg 


. Batteries of Life: On the History of Things and Their Perception in 


Modernity, by Christoph Asendorf 

Profane Illumination: Walter Benjamin and the Paris of Surrealist 
Revolution, by Margaret Cohen 

Hollywood in Berlin: American Cinema and Weimar Germany, by 
Thomas J. Saunders 


- Walter Benjamin: An Aesthetic of Redemption, by Richard Wolin 


The New Typography. by Jan Tschichold, translated by Ruari McLean 
The Rule of Law under Siege: Selected Essays of Franz L. Neumann 
and Otto Kirchheimer, edited by William E. Scheuerman 

The Dialectical Imagination: A History of the Frankfurt School and the 
lnsutute of Social Research, 1923-1950, by Martin Jay 


. Women in the Metropolis: Gender and Modernity in Weimar Culture, 


edited by Katharina von Ankum 


. Letters of Heinrich and Thomas Mann. 1900-1949, edited by Hans 


Wysling. translated by Don Reneau 


. Empire of Ecstasy: Nudity and Movement in German Body Culture, 


1910-1935, by Karl Toepfer 


. In the Shadow of Catastrophe: German Intellectuals Between 


Apocalypse and Enlightenment, by Anson Rabinbach 


. Walter Benjamin's Other History: of Stones, Animals, Human Beings, 


and Angels, by Beatrice Hanssen 


. Exiled in Paradise: German Refugee Artists and Intellectuals in 


America from the 1930s to the Present, by Anthony Heilbut 

Cool Conduct, by Helmut Lethen. translated by Don Reneau 

In a Cold Crater: Cultural and intellectual Life in Berlin, 1945-1948, 
by Wolfgang Schivelbusch. translated by Kelly Barry 


JAN TSCHICHOLD 


THE NEW TYPOGRAPHY 


A HANDBOOK FOR MODERN DESIGNERS 
Translated by Ruari McLean 


WITH AN INTRODUCTION BY ROBIN KINROSS 


UNIVERSITY OF CALIFORNIA PRESS 


BERKELEY LOS ANGELES LONDON 


The publisher gratefully acknowledges receipt of 
a transiation grant from inter Nationes. 


First Paperback Printing 1998 


Published in 1987 as Die neve Typographie 
Ein Handbuch far Zeitgemass Schaffende, 

by Brinkmann & Bose, Berlin 

First published in German in June 1928 by the 
Bildungs verband der Deutschen Buchdrucker. 
University of California Press 

Berkeley and Los Angeles, California 
University of California Press Ltd 

London, England 

Copyright © 1995 by The Regents of 

the University of California 

Library of Congress Cataloging-in- 

Publication Data 

Tschichold, Jan, 1902-1974. 

[Neue Typographie. English] 

The new typography : e handbook for modern designers / Jan 
Tschichold ; translated by Ruari McLean, with an introduction by 
Robin Kinross. 

p cm (Weimar and now ; 8) 
Includes bibliographical references (p. ). 
ISBN 0-520-07146-8 (alk. paper) 

0-520-07147-6 (pbk: alk. paper) 


1. Printing. 2. Graphic design. 1. Title. I. Series. 
Z116.T77513 1995 
686.2'2—dc20 94-207868 


cip 
Printed in the United States of America 
98765 4 3 2 


CONTENTS 


Translator’s Foreword 
Ruari McLean ix 


introduction to the English-Language Edition 


Robin Kinross <i —— a 3 ya — «wv 


THE NEW TYPOGRAPHY 
Jan Tschichold ses oe es 1 


TRANSLATOR’S FOREWORD 
RUARI MCLEAN 


Jan Tschichold’s first book, Die neve Typographie, was published in Berlin 
in 1928. Its design was not only startling. with its famous frontispiece of 
solid black facing the title. but also extremely elegant, in a soft black linen 
case blocked in silver. This was six years after 0. B. Updike’s Printing Types 
was published in the United States, two years before Stanley Morison’'s 
article “First Principles of Typography” appeared in The Fleuron 7, and three 
years before Eric Gill's Essay on Typography. \t was out of print by 1931 and 
remained out of print for fifty-six years. until the Brinkmann & Bose facsim- 
ile reprint of 1987. 

Tsthichold was recognized by a few people in Britain and the USA before 
1939. A small exhibition of his work was held in the London office of a 
forward-looking printer, Percy Lund Humphries. between 27 November and 
14 December 1935 (probably at the suggestion of Edward McKnight 
Kauffer); an article on his work by Robert Harling appeared in Printing in 
January 1936; and in 1937 Tschichold himself read a paper “A New Ap- 
proach to Typography” to the Double Crown Club in London. The design of 
the menu for that dinner showed how little Tschichold'’s ideas, and those of 
the modern movement generally, were understood in Britain at that time. 
He continued to be supported by Lund Humphries. for whom he designed 
the firm's letterhead, in use from 1936 to 1948, and the 1938 edition of the 
Penrose Annual. 

In March 1947 Tschichold came to England to overhaul the typography of 
the fast-growing paperback publisher Penguin Books (founded in 1935)— 
where he stayed for three years. But it was not until 1967 that any book of 
his appeared in English translation. This was his sixth book, 7Typographische 
Gestaltung, originally published in Basel in 1935 and now appearing under 
the title of Asymmetric Typography. \t had been translated by the present 
writer in 1945, but remained without a publisher until Cooper & Beatty, the 
Toronto typesetters. sponsored it for distribution in the USA by Reinhold 
and in Britain by Faber & Faber. 

In the same year, 1967, Tschichold asked me to translate Die neve 
Typographie. He planned it as a second. revised edition. He gave me a copy 
of the text with numerous corrections, editorial revisions. and deletions of 
matter he considered to be no longer relevant or now out of date: for 
example the entire section on standardization was taken out. It should be 
remembered that in a speech made to the Type Directors Club of New York 
in 1959 (later printed in Print under the title “Quousque Tandem . . .“), he 


said: “What | do today is not in the line of my often mentioned book Die 
neue Typographie, since | am the most severe critic of the young Tschichold 
of 1925-8. A Chinese proverb says ‘In haste there is error. So many things 
in that primer are erroneous, because my experience was too small.” 

| translated the greater part of Die neve Typographie incorporating all the 
revisions, but agein no publisher could be found. When Tschichold died in 
1974, | pleced the draft of my translation in the St Bride Printing Library in 
London where it could be consulted by anyone who wished to read it. 
Now the University of California Press has enabled the book to appear at 
last in English, but in a new translation made exactly from the original text. 
It is therefore treated as a text of historical importance rather than the let- 
est publication of Tschichold’s thoughts. 

All the self-critical comments written by Tschichold on his revised proofs 
are printed below, and two of his original pages are reproduced. The orig- 
inal passages of text were to stand unaltered. It was not feasible to show 
here the cuts and other corrections, which although numerous were not of 
serious textual importance. In the second edition which Tschichold hed 
planned, there would certainly have been typographical changes: pare- 
graphs were to be indented. and book and magazine titles italicized, in 
accordance with modern practice. indented paragraphs have not been in- 
troduced in the present translation, and the illustrations. some of which 
Tschichold intended to change or omit, are unaltered. 

Tschichold’s text was epoch-making when first published. Its fundamental 
tenets ere still absolutely valid: the book is as well worth reading today as 
it ever was. 

For helping me at various times with my transletion | must express my grat- 
itude first to the late Hans Unger, and later to Hans Dieter Reichert. Jost 
Hochuli, Robin Kinross. and my Californian copy editor Nicholas Goodhue. 
But any grievous errors must be my own. 


April 1993 ISLE OF MULL 


REVISIONS TO DIE NEUE TYPOGRAPHIE 
JAN TSCHICHOLD, 1967. 


P. 30: as governing design in general (Gesetze der Gestaltung Uberhaupt*). 
*Der Autor, 1967: Ogs stimmt nicht. Die Malerei kann zwar einen befruch- 
tenden Einfluss auf die Typographie ausdben, doch sind die Gesetze der 
typographie autonom. 

The author, 1967: That is not right. Painting can indeed have a fruitful infiu- 
ence on typography, but the laws of typography are its own. 


P. 67. and therefore must be inorganic (und darum unorganisch sein 
muss”). 

*Bie Autor, 1967: Dieses Urteil Uber den zentrierten Buchtitel ist reichlich 
ungerecht. 

The author, 1967: This pronouncement on centered book title-pages is sub- 
stantially unjust. 


P. 68. Every piece of typography which originates in a preconceived idea of 
form, of whatever kind. is wrong (Jede Typographie die von einer vorge- 
fassten Formidee — gleichviel welcher Art — ausgeht. ist falsch*). 

*Die Autor. 1967: Das ist ein allzu rigoroser Standpunkt. Er wurde das 
typographische Spiel, an dem wir uns gelegentlich freuen, verurteilen. 

The author, 1967: That is altogether too narrow a view. It would contradict 
the freedom for typographic jokes which we sometimes enjoy. 


P. 71. a fear of pure appearance (indem man ihn “schmickt”*). 

“Der Autor. 1967: So einfach ist das nicht. Das Bedurinis nach Schmuck ist 
elementar und nicht kindlich-naiv. 

The author, 1967: It is not so simple. The desire for ornament is elemental 
and not childish-naive. 


P. 75. also the clessical typefaces (will) disappear. as completely as the 
contorted furniture of the eighties (etwa den Muschelmdébein der achtziger 
Jahre zuteil wird**). 

**Die Prognose Uber die Zukunft der klassischen Schriften hat sich als irrig 
erwiesen. 

The forecast about the future of classical typefaces has been proved 
wrong. 


P. 76. among whom | expect there must be an engineer (unter denen sich 
wohl auch ein Ingenieur befinden misste*). 

*Der Autor, 1967: Die Situation ist heute ganz anders. So ist die Univers, 
aus der dieses Buch gesetzt ist, eine der besten heutigen Endstrichlosen und 
stellt dar, was ich 1928 ertradmt hebe. 

The author, 1967: The situation today is quite different. Univers, in which 
this book is set. is one of the best sanserifs. and is whet | dreamed of in 
1928. 


P. 77. Their use for parody, in the sense described above, of course remains 
legitimate (oben bezeichneten Sinne bleibt natirlich offen*). 

*Der Autor, 1967: Diese Meinung hat sich als viel zu streng erwiesen. 

The author, 1967: This opinion now seems far too strong. 


P. 78. It will remain the exception (eine Ausnehme bilden*). 
*Der Autor. 1967: Das war einmal. 
The author, 1967: That was in the past. 


P. 78. would hardly have brought them back again (kaum wieder ans 
Tageslicht gezogen**). 

**Der Autor, 1967: Die Assoziation stellen sich nur bei wenigen ein und 
stéren auch diese nicht. 

The author, 1967: The associations have little real influence and do not 
harm these types. 


P. 80. or an industrial catalogue (oder ein Industriekatalog®). 
*Der Autor, 1967: Hier wird das Kind mit dem Bade ausgeschuttet! 
The author, 1967: Here, the baby is thrown out with the bathweater! 


P. 80. it is totally unsuitable for the 20th century (heute noch zu verwen- 
den°*). 

(Der Autor) **Auch hier! 
Here tool 


P. 96. the luxury-concept of the “Book Beautiful” belongs to the past (der 
Vergangenheit angeh6rt). 

Der Autor, 1967: Welch ein Irrtum! 

The author, 1967: What a mistakel 


reser allen anderen den Verzug. Dev as. sich einen store Kontrac! 
sate Wei Kann curch Hinzutreten des Mut ecitercrcentucis geste:.qgect 


ssiverslandlich ist die Farbstellung Sciwarz-Rol nicht die emnzig mogliche. 
cielfach irrtimlich angenommen wird. Infolge ihrer besonders starken 
nsildl wird sie aber oft jeder anderen vorgezogen. Die Farbigkeit der 
*~ .cksorte muG im Gbrigen deny Zweck enisprechen: man wird Besuchs- 
:-n nicht dreifarbig setzen und sich bei Plakaten nur selien mil Schwarz: 
3 DegnGgen. 
+ reinen, nicht mit Schwarz vermischten Farben Rot, Gelb. Blau genieBen 
. yen ihrer Intensit&t den Vorrang. sie schlieBen aber die Gbrigen gemischter 
“alone nicht eus. 
Sphritt ais Grom patele 
He Sckrifformen. deren Wesen durch seaeSuelet hinzutretense Orna- 
te (Sehdetridcedei der Antique, Rauten und Rissel dei cer Frektur) ent- 
isl, enisprechen nicht unserem Sireben nach Klerheit und Reinhcit. 
‘+r allen vorhandenen Schrifiarten ist die sogenanate \Grotes:\ Gatiioat 
ewes lt (die richlige Bezcichnung jsdr Ee QeAustosre) die einzige, diz i 
- ver Zeit geislig geme8 ist. 
Proitemierung der Grotesk als der Schrift unscrer Zeit ist Kei bp 
=== Modeangelegenheit. feqentspricht ducsuaus den allgemeinenTendenzem be 
weiiientaie der Architehtur. Die Zeit ist nicht mehr fern, wo nicht nur di2 -) n 
: epschrillen (die dieses Los zum Teil schon heule trifft}. songern auch $ 
Wagsischen Schzihten allgemein dieselbe Ablehnung esfahren werden. 
‘ule elwa den Muschelmébeln der echtziner Jahre zutell wiec 2% 
wa—therre-Frage—daBbipie hceule vorhandenen Groteskschrifienfden An- iP tne 
-lea. die an eine vullLom-nene Sckrilt gestellt werden missen, noch J fe 
i tlnz gentgea. De spezifischan E:gentimlichheiten dieser Schrift sind 
- Eaum hereuscearbeitet. die Formen insbesondere ver Kleinbuch- 
ion sing noch zu sehz von der humenistischen Minuskel abhdngig. Div 
iv und gerade die neucsien kinstlerischenGroteskschriften(z.B. Erber. 
‘l. end Kabel) seigen. zu ihrem Nachleil geqgenéber den namenicsen 
-:. Grotesken. individuell modifizierte Bewegungen. die sie grundsitz- 
" Ene Linie mit den andern Kunstlerschrifter steller. Als Brotschr:ften 


2 - ~ ° 78 


ed 
ae Die Pro gnore wha AY 2a bewefe te klar Sthte 


Pages from Die neue Typographie showing Tschichold’s hand-written revisions for a planned 
second edition. 


sein als etwe Morihes Gedichte oder ein Industriekatalog. Die Goth hat den 
irchenvater Augustin aus Textur. nicht aus Unziale geselzt! 
Alles Druckwerk. gleichviet welcher Art, das in unserer Zeit geschaflen wird, 
‘are die Kennzeichen unserer Zeit tragen und perf nicht Druckerzeugnisse 
fraherer Zeiten“imitieren. Das gillanetankel nicht blob. von der Schrift. 
sondern von alien Aufbauleilen, auch den Abbildungeny< dem Einband seot- 
Frahere Zeiten dte-sieh-inrGegeneete-nuevacccsnslals_ibconselbst bowuht 
weren, haben stets das Vergangene, oll in Witt krasser Form. verneint. Das 
lehren die Erganzungsbauten der Dome. die aligemeine Kulturentwicklung 
und auch die Typographie. Der Stempelschneider Unger, Schdpler der 
,Unger-Fraktur (um 1800), ein bedeutender Typograph. erklarle die Schwa- 
bacher fdr eine h8Gliche Schrift und wurde dederet] zum Erlinder der Aus- 
zeichnung des Fraktursatzes durch Sperren (frdher hatte man Fraktur mit 
Schwabacher ausgezeichnet). Er-hete-demit-vetistindig-reehth Seine Zeit, 
desRokoke, fand die Gotik und ihre Ausdrucksformen. und damit auch die 
Schwabacher, weil ihrem Wesen entgegengesetzt. haBlich, und Unger war 
nur ihe Sprachrohr auf unserem Gebiete. 
Ein Kunsthistoriker mag die Qualitat etwa der alten Schwabacher schitzen 
kdnnen; auch wir sehen in ihr eine vollkommene Schrift ihrer Zeit — aber 
wir massen es ablehnen, diese Schrift des 15. Jahrhunderts heule noch zu 
verwendens denn-eie-iet-hiehet-uereiigendGrSe-istesrmitottenhinterisehon- 
Sebritien, Ach wir 
ren ; $Sen evoh wir nach einer Schrift suchen, die unser eigener 
Ausdeuck ist. Unsere Zeit4etgekennzeichnet dmanb ein allgemeines Streben 
nach KlerheituadMolebeit, nach der reinen Erscheinung. Darun- ist das 
Schrifiproblem wetwendty ein anderes als (réher. Wir verlangen von derType 
Deullichkeil, Klerheit, Weglassung alles Uborflissigen. Oamit kommen wir 
zur Forderung eines geometrischen Formaulbaus. In der Grotesk besitzen 
wir eine Schriliform, die dieser Forderung eekr nahe homimil, und darum ist 
diese Schrift die Grundlege aller Weilerarbeil an dev Schrift unserer Zeit. 
Der Charakter einer Zeit kann sich nicht nur in reichen und ornamentierten 
Formen zeigen. Auch die einfachen geometrischen Formen der Grotesk 
dricken etwas aus: Klarheit und Beschrankung auf das Wesentliche, und 
damit das Wesen unserer Zeit. Auf diesen Ausdruck kommt es gewifi an. 
Nicht aber kommt es darauf an, Spezialschrilten fOr die AnkGndigungen von 
Parfimfabrikanten und Modengeschaflen oder fir lyrische Ergdsse zu 
schaffen. Nie war es Aufgabe der Stempelschneider friherer Zeiten, eine 
Schrift mit cinem individuetlen Ausdruck herzustellen. Darum sind auch die 
beslen Schriften biol die fOr alles brauchbar sind, und fied die schicchten, 
die man nur fur Visitenkarlen oder Gesangbicher verwenden kann. 


eee Du Avter, 1967: Hian and tea Kind md ten Ra 


ausgeochctled ! 


INTRODUCTION TO THE ENGLISH-LANGUAGE EDITION 
ROBIN KINROSS 


Significant literary work can only come into being in a strict alternation 
between action and writing: it must nurture the inconspicuous forms that 
better fit its influence in active communities than does the pretentious, uni- 
versal gesture of the book — in leaflets, brochures. articles, and posters. 
Only this prompt language shows itself actively equal to the moment. 
Opinions are to the vast apparatus of social existence what oil is to 
machines: one does not go up to a turbine and pour machine oil over it: 
one applies a little to hidden spindles and joints that one has to know. 


1928 WALTER BENJAMIN® 


Die neve Typographie was published in Berlin in June 1928. The author was 
the then twenty-six-year-old German typographer Jan Tschichold. The pub- 
lishers were the Bildungsverband der Deutschen Buchdrucker: the educa- 
tional association of the German printing-trade union. The book was the 
most detailed and best-illustrated exposition of the New Typography. This 
was the manifestation in the sphere of printed communication of the mod- 
ern movement in art. in design, and — at least this was its aspiration — in 
life as a whole, which developed in Central Europe between the two world 
wars. To take representative or iconic instances. one could mention the 
new architecture built for the city of Frankfurt (under the direction of Ernst 
May). the political theatre of Bertolt Brecht and Hanns Eisler, the tubular- 
steel furniture of Mart Stam or Marcel Breuer, the cinema of Dziga-Vertov 
or Joris lvens, journals such as /!0 or Die Form: work in which formal inno- 
vation and social concerns were intertwined. The New Typography now 
falls into place in the constellation of Central European modernist culture. 
Tschichold's book remains unsurpassed as the best single document of and 
about the New Typography. But its context and concerns now need consid- 
erable explanation. 


TSCHICHOLD BEFORE DIE NEUE TYPOGRAPHIE 

Jan Tschichold (1902-1974) was the son of a Leipzig sign-writer and let- 
tering artist.' His early start in — and lifelong preoccupation with — letter- 
ing and typography is thus not surprising. Leipzig was one of the centres 
for printing and publishing in Germany. and at the heart of the country’s 
typographic culture. After an informal apprenticeship to his father, he 


attended classes at the Akedemie fir Kinste und Buchgewerbe [academy 
of art and of the book trade) in Leipzig (from 1919) and then (from 1921) 
at the Kunstgewerbeschule [school of arts and crafts) at Dresden. In 1921 
he also started to teach an evening class in calligraphy at the Leipzig 
Akademie. 

In the early 1920s Tschichold worked primarily as a calligrapher, writing out 
texts for printed reproduction. Small advertisements for the Leipzig trade 
fairs were a staple job. The design approach of this early work can be 
called traditional, although it seems to show a rather eclectic experimenta- 
tion with different letterforms and styles of writing. 

In Tschichold’s own account. two turning-points for him came in 1923. 
First. he began to practice “the previously unknown profession of typo- 
graphic designer” with the large Leipzig printing firm of Fischer & Wittig.2 
The cheracteristic. defining activity of the typographic designer was the 
instruction of compositors by precisely drawn and dimensioned layouts. 
Previously the process of setting type had not been formally directed, 
except perhaps by vague sketches drawn by compositors themselves (or 
their senior colleagues). or occasionally (since perhaps the end of the 
nineteenth century) by the figure that Tschichold refers to, in quotation 
marks, as the “book-artist.“* 

The second turning-point was Tschichold’s conversion to modernism, which 
he dated from his visit to the exhibition of the Weimar Bauhaus in the sum- 
mer of 1923. This was the first full presentation of work done at the 
Bauhaus, held just at the point when the school was turning from its initial 
handicrafts phase towards a more technically oriented program and an 
engagement with the conditions of industrial production. The experience of 
visiting this exhibition touched Tschichold at the deepest level.* The first 
clearly modern works by Tschichold that have been reproduced are dated 
to 1924: a poster for the Philobiblon publishing house in Warsaw. a letter- 
heading for Nina Khmelova in Moscow. Before this, in 1922 or 1923, he is 
reported to have made the acquaintance of Laészié Moholy-Nagy, who in 
turn introduced him to El Lissitzky: the two artist-designers whose work 
most encouraged his turn.® And a significant indicator in this process of 
change was his adoption, around 1923/24, of the name “Iwan Tschichold.”¢ 
His given name had been Johannes Tzschichhold: his father, and mother 
also, had Slav origins. Throughout his working life Tschichold tended to 
look East — he became en authority on Chinese and Japanese prints — but 
at that point in the mid-1920s, this perhaps ancestrel inclination took on a 
particular ideological charge.” “lwan” proclaimed his new allegiance to the 
social-artistic ideas of the Russian Constructivists. 


uwi 


Im VERLAG DES BILDUNGSVERBANDES der Deutschen Buchdrucker, 
Berlin SW 61, Oreibundstr. 5, erscheint demnachst: 


JAN TSCHICHOLD 


Lehrer an der Meisterschule flr Deutschlands Buchdrucker in Milnchen 


DIE NEUE TYPOGRAPHIE 


Handbuch fir dio gesamte Fachwelt 
und dic drucksachenverbrauchenden Kreise 


Das Problem der neuen gestaltenden Typographie hat eine lebhatte 
Diskussion bei allen Beteiligten hervorgerufen. Wir glauben dem BedGrt- 
nis, die aufgeworfenen Fragen ausfihrlich behandelt zu sehen, zu ent- 
sprechen, wenn wir jetzt ein Handbuch der NEUEN TYPOGRAPHIE 
herausbringen. 


Es kam dem Verfasser, einem ihrer bekanntesten Vertreter, in diesem 
Buche zuntichst darauf an, den engen Zusammenhang der neuen 
Typographie mit dem Gesamtkomplex heutigen Lebens aufzuzei- 
gen und zu beweisen, daB die neue Typographio cin obenso notwendi- 
ger Ausdruck ciner neven Gesinnung ist wie dio neve Baukunst und 
alles Neuve, das mit unserer Zeit anbricht. Diese geschichtiiche Notwen- 
digkeit der neuen Typographie belegt weiterhin eine kritische Dar- 
stellung der alten Typographic. Die Entwicklung der neuen Male- 
rei, die flr alles Neue unserer Zeit geistig bahnbrechend gewesen ist, 
wird in cinem reich illustrierten Aufsatz des Buches leicht faSlich dar- 
gestellt, Ein kurzer Abschnitt , Zur Geschichte der neuon Typogra- 
phic" Icitet zu dem wichtigsten Teile des Buches, den Grundbegriffen 
der neuen Typographie iber. Diese werden klar herausgeschilt, 
richtige und falsche Beispicle cinander gegenUbergestellt. Zwei wel- 
tere Artikel behandein ,,Photographie und Typographic’ und 
»Neue Typographic und Normung” 


Der Hauptwert des Buches fr den Praktikor besteht in dem zweiton 
Teil ,,Typographische Hauptformen" (siehe das nebenstehonde 
Inhaltsverzeichnis), Es fehite bisher an einem Werke, das wie dieses Buch 
die schon bei einfachen Satzaufgaben auftauchenden gestalterischen 
Fragen in gebGhrender Ausfuhrlichkeit behandelte. Joder Teilabschnitt 
enthalt neben allgemeinen typographischen Regeln vor allem die 
Abbildungen aller in Betracht kommenden Normbiatter des Deutschen 
Normenausschusses, alle andern (z..B. postalischen) Vorschriften und 
zahlreiche Beispiele, Gegenbeispiele und Schemen. 


Fur jeden Buchdrucker, insbesondere jeden Akzidenzsetzer, wird ,,Dio 
neve Typographic" ein unentbehrliches Handbuch sein. Von nicht 
geringerer Bedeutung ist es fur Reklamefachleute, Gebrauchsgraphiker, 
Kaufleute, Photographen, Architekten, Ingenioure und Schriftstellor, 
also flr alle, die mit dem Buchdruck in BerUhrung kommon. 


VORZUGS-ANGEBOT 
{Nord Sires OS eS AS 


INHALT DES BUCHES 


Werden und Weson der neuon Typographic 
Dos nove Weltbild 
Dio alte Typographio (ROckblick end Kriti) 
Dio nove Kunst 
Zer Geschichte der nowon Typographio 
Dio Grundbegrillo der nesen Typographsa 
#0 und Typographio 


Neva und Normung 


typ. tschichold 


Das Buch enthilt aber 125 Abbildungen, von 
denen ctwa cin Viertel zweifarbig gedruckt Ist, 


und umfaBt gegen 


Seiten auf gutem Kunst- 


druckpapier. Es erscheint im Format DIN A5 (148 
210 mm) und Ist biegsam In Ganzloinon gebunden. 


5.00 RM 
6.50 RM 


Bestellschoin umstehend map 


Preis bei Vorbestellung bis 1. Juni 1928: 
durch den Buchhandel nur zum Preise von 


Publicity leaflet for Die neve Typographie. 


equality of provision; no longer the artist and the privileged sensibility, but 
the engineer and the ordinary citizen. 

If Tschichold’s prose in these opening pages seems excited — especially in 
the context of a handbook for printers — it is of its time. One could argue 
that it is actually a few years behind the leading formulations. For example. 
Tschichold's play with the figure of “the engineer” — which he sets in bold 
type. at a crucial rhetorical moment (p. 11) — is clearly in the same spirit 
as Le Corbusier's rhapsodic argument in Vers une architecture, first pub- 
lished in book form in 1923: 


Not in pursuit of an architectural idea, but simply guided by the 
results of calculation (derived from the principles which govern our 
universe) and the conception of a living organism, the engineers of 
to-day make use of the primary elements and. by co-ordinating them 
in accordance with the rules. provoke in us architectural emotions 
and thus make the work of man ring in unison with universal order.24¢ 


And this is also the spirit of Tschichold’s references to automobiles, tele- 
phones, electric light-bulbs. boxers. and other icons of the modern age. 
Tschichold’s argument here gains particular force and authenticity, because 
in his publisher (the Bildungsverband) and its readership of printers. he 
was directly in touch with real “engineers.” And for internal evidence of this 
contact, one could cite the beautiful detail on page 122, where he advises 
that numbers indicating fold-marks on a letter-heading should be made 
from brass (rather than the normal predominantly lead alloy), because, 
standing isolated in the margin of the sheet, they are subject to greater 
pressure and wear. As already noted, Tschichold treats the artist-designer 
with considerable disdain. In his account of “the old typography 
(1450-1914),” the artistic and decorative approach is only excused as per- 
haps valid in its day. Those who still try to practice such an approach in the 
modern world — the “book artists,” for example — are condemned as out of 
touch with the new age and are thus mere formalists: 


But the difference between these modern works and their classical 
models is that the models really are sn expression of their time, 
whereas the imitations are the expression of a highly sensitive eclec- 
ticism, which is an attitude foreign to the present day, looking for its 
ideal in another time and world. (P. 25) 


Tschichold's arguments may employ the terms of use, need, and function, 
but they are deeply and explicitly infused with the idea that form must be 
created and that it must be the form of the new age. In this he was 


uxli 


absolutely typical as a theorist of modernism. The paradox in the argument 
lies in the wish for self-effacing, abstract form. A characteristic statement 
of position might be quoted from a few pages further on: 


Individualistic work, the “line” of the artist. are the exact opposite of 
what we ere trying to achieve. Only anonymity in the elements we use 
and the application of laws transcending self combined with the giv- 
ing up of personal vanity (up till now falsely called “personality”) in 
favour of pure design assures the emergence of a general, collective 
culture which will encompass all expressions of life — including 
typography. (Pp. 28-29) 


The political dimension of this view becomes more evident in the section 
that deals with “the new art” (pp. 30-51). Borrowing quite frequently from 
the language of Marxism, as then popularly disseminated, Tschichold dis- 
cusses the history of art in terms of social class and technical development. 
(The atmosphere of a workers’ education lecture is further recalled by his 
conscientious footnote translations of foreign terms.) Historical develop- 
ment. as he outlines it. points ineluctably to abstract art (perhaps dissolved 
into the forms of everyday life, as architecture and industrial design) and to 
photography and film. 

In these passages, the intimate association between modernism in design 
and socialist politics is clear — or, at least, the connection was clear at that 
time and in that place. Both strands combined into a single outlook that 
might typically be termed “progressive.” Tschichold was here writing for a 
trade-union-associated publisher, and his design work at this time included 
work for socialist — of socially oriented — publishers and other clients.2° 
Tschichold’s Marxist rhetoric was made fun of in a review of the book pub- 
lished in bauhaus, the journal of the school. which was then (under Hannes 
Meyer) at its most committed to the socialist-materialist position.2® After 
quoting Tschichold’s suggestion that borders around the printing area of a 
large advertisement are “a characteristic expression of the eartier individu- 
alistic epoch” (p. 199), the anonymous reviewer remarked that in order to 
combat individualism one needs to address not just the appearance of 
advertisements but the very existence of such advertising. In this 
reviewer's account, Tschichold’s book discussed and illustrated only formal 
matters, and ended up by proposing no more than a new formalism, which 
its author mistook for a new conception of the world. Whether or not that 
judgment of Tschichold as a “formelist” was just, there was certainly some 
point in the objection to his appropriation of the language of political 
change in the discussion of typographic detail. 


mill 


THE NEW TYPOGRAPHY 

The New Typography — as a term, as a movement — is given some explana- 
tion by Tschichold in the first half of this book. As he makes clear, it was a 
collective endeavour, which was finding definition step by step. Laszl6 
Moholy-Nagy’s article entitled “Die neue Typographie” — appearing in the 
publication that accompanied the Bauhaus exhibition of 1923 — would have 
helped to establish the term, as well as formulating its leading ideas at a 
relatively early moment. Tschichold cites this text in his outline of the his- 
tory of the New Typography (p. 58), but, as his discussion suggests, it was 
only one of a series of articles and publications of a movement that was 
just then (in 1928) gathering momentum. 

One might see Tschichold’s book as standing at the point when the New 
Typography movement had just taken off, after quite a lengthy journey 
along the runways. There was enough work for him to reproduce as illus- 
tration in the book, but it was of variable quality, and — we can say now — 
there would be work to come that would make many of the things illus- 
trated here look “early.” 

A good indication of the state of this movement is the history of the semi- 
formal association of artists and designers working in the spirit of the New 
Typography: this was the Ring “neue werbegestalter.’2” Evidently following 
the example of the “Ring” of modern architects in Germany (established in 
Berlin around 1925), this was a loose group of like-minded practitioners, 
instigated and coordinated by Kurt Schwitters. The Ring “neue wer- 
begestalter” came into existence towards the end of 1927, and became 
publicly evident early in 1928, with nine founding members: Willi 
Baumeister, Max Burchartz, Walter Dexel, Cesar Domela, Robert Michel, 
Kurt Schwitters, Georg Trump, Jan Tschichold, Friedrich Vordemberge- 
Gildewart. (Other members, joining later, included Piet Zwart, Hans 
Leistikow, Paul Schuitema.) The Ring can be characterized as a pressure 
group for New Typography: it came together in exhibitions of work by mem- 
bers and invited guests, discussed and agitated for these and other outlets 
for work (for example, an international magazine). In the years of its activ- 
ity (1928 to 1931) over twenty exhibitions were held primarily in German 
museums, but also in institutions in other countries, including Switzerland 
and the Netherlands. If one wants to locate the movement of New 
Typography, the Ring was the most convincing real embodiment of it: a 
slightly shaky, intermittent affair, largely held together and fuelled by the 
enthusiasm of Kurt Schwitters.28 

The activities of the Ring “neue werbegestalter” were just starting when 
Tschichold would have been completing Die neue Typographie. |n this con- 


xxiv 


nection, one could make some observations that may help an understand- 
ing of Tschichold and the present book. First, that in this book he had done 
as much as any writer could to imagine such a movement into existence. 
One of the best indications of this is the list of addresses on the last page, 
which seems to say: here are the protagonists, you have seen their work 
reproduced in these pages, now write to them! And second, the history of 
the Ring shows that Tschichold played a moderately active part in it, but 
not a leading one. He was a colleague, on a level with the others. 
Tschichold’s distinction — and Die neue Typographie is prime evidence of 
this — lay in explaining and documenting what the others were doing. 

It is-worth noting also that the Bauhaus, the institution that has so domi- 
nated the history of the modern movement (to the extent of sometimes 
being taken as synonymous with it), is seen in Die neve Typographie, as in 
all the literature of the period, as just one of the contributing components: 
one star in a diverse and spreading constellation of institutions and indi- 
viduals. The Ring “neue werbegestalter” was another star, if a small and 
erratic one, and it is interesting to observe the rather wary relationship 
between the Ring and the Bauhaus: as if the former was felt by its members 
to be in danger of being gobbled up by the latter.29 In the event, none of 
the Bauhaus teachers became members of the Ring, and they participated 
in its exhibitions only as guests. On the question of Tschichold’s relations 
with the Bauhaus: there is no record of any substantial contact. This appar- 
ent distance may point to Tschichold’s capacity as a professional typogra- 
pher, teaching at a school for printers, and the lack of typographic and 
printing-trade expertise at the Bauhaus, even at Dessau in the time of its 
greatest ideological commitment to designing for industrial production.?° 


DESIGN PRINCIPLES 

Although Tschichold himself is clear enough about the principles that 
inform the New Typography in its approach to designing (see especially 
“The Principles of the New Typography,” pp. 64-86), it may be worth point- 
ing out certain aspects that are assumed or latent within his discussion. 
First, and as already indicated, it is clear that the New Typography could 
not, for Tschichold, be a simple matter of aesthetics: this category was 
always dissolved into a larger and more complex consideration of use and 
purpose. This is not to say that the New Typography was without an aes- 
thetic or formal dimension: and least of all in the work of Tschichold, which 
by this time was beginning to display a sure control of subtly chosen and 
often self-effacing means. In the original edition of Die neve Typographie, 
good evidence for this lies in the material substance of the book itself. The 


just-flexible boards of the case-binding were covered in fine-grain black 
cloth. The corners of the case were rounded. These features might have 
seemed to encourage its use as a “handbook”: it might sit happily in the 
pocket of a printer's workshop jacket. Or one could consider the “fron- 
tispiece” to the book: the page facing the title-page. This is simply a black 
page. Should one regard this in functional terms — as a device to concen- 
trate the reader's attention on the title-page? Or is it a defiant assertion of 
abstraction, against the figurative or decorative illustration employed in the 
old typography? Or could one take it more metaphysically — as a statement 
of the possibility of maximum ink, an extreme of the book's subject of 
printing? 

A fundamental theme of the book, which tends inevitably to be lost in 
English translation of German texts of this period, is the charge that the 
word “Gestalt” and its derivations carried. It means “design,” but design in 
a full and complex sense: the process of giving or finding form. (The full 
sense of the term is clear in Tschichold’s one-sentence summary of his 
approach, quoted on p. xxxvi below.) The matter is further confused by the 
fact that the word “design” has since become so widely used, even to the 
extent, in several languages, of displacing native words for the activity. But 
here, “design” has nothing to do with decoration and the mere making of 
patterns. The examples that Tschichold reproduces (pp. 83-85) to illustrate 
a false understanding of modern design make the point with splendid clar- 
ity and finality. 

Against such false decoration, Tschichold proposes a way of designing that 
develops “its visible form out of the function of the text” (pp. 66-67). From 
this assumption come the principles that distinguish the New Typography, 
and all branches of modern design: asymmetry, the positive deployment of 
empty space, the meaningful use of colour, the meaningful exploitation of 
contrast and a corresponding lack of interest in visual balance. 
Tschichold's discussion (for example, p. 68) recalls a characteristic mod- 
ernist theme: asymmetry is a principle of freedom, of adaptability, just as 
the “free plan” of the modern house is a response to new social habits and 
desires. These jdeas were translated into, or used as support for, the char- 
acteristic visual vocabulary of the New Typography. As examples one could 
cite: the use of axes from which to range text and other elements, and the 
renunciation of axial symmetry; the use of bold type, perhaps (as in this 
book) in marked contrast to text set in a light weight of type; acceptance 
of constraints, perhaps in the form of an underlying grid-structure, as a 
means of bringing order to the material and also of giving freedom to the 
producers (the diagrams on pp. 210-211 are a classic demonstration of 


this point). Finally, one can notice that nowhere in this book or elsewhere 
in his theory or practice did Tschichold give any sustained attention to the 
issue of setting continuous text unjustified or ragged (and with equal 
word-spaces). It was left to others to explore this seemingly logical exten- 
sion of the principle of asymmetry.#! 


STANDARDIZATION 

Norms and standards play a fundamental part in the argument of Die neue 
Typographie, and this may also be the element in the book that now needs 
most explanation. In the modern movement as a whole, the promise held 
out by standardization can be briefly summarized: this was a means for 
bringing order to industrialized societies, for settling some of the funda- 
mental elements of life. Producers, users, and intermediaries would be able 
to act more freely once these basic factors had been determined. In design, 
as Tschichold’s discussion here recognizes, there were some awkward- 
nesses and paradoxes. Would not standardization (of paper sizes, or of the 
layout of business stationery) limit invention and variety? Could standard- 
ization embody good design principles? 

The standards described in this book are those of the Deutscher Nor- 
menausschuss, a body whose history reached back into the nineteenth 
century.%2 Initially (since 1850) there had been the Verein Deutscher 
Ingenieure, which formed a committee on standardization (Normalien- 
ausschuss der VDI). During the First World War, the need to mobilize 
industry for maximally efficient production gave a strong impulse to the 
standards effort. And the conditions of impoverishment and disorganization 
in Germany, following defeat in that war, only provided further stimulus. In 
1917, the VDI’'s committee had become the Normenausschuss der 
Deutschen Industrie, which in 1926 had become the Deutscher Normen- 
ausschuss. This genealogy suggests one ground for the attraction that 
standardization held for modernist designers. This really did seem to be the 
voice of the engineer, issuing in very exact recommendations for the design 
of artefacts. Standards seemed to embody a collective wisdom, as against 
the willful arbitrariness of individual expression. 

The standards for printed matter that Tschichold mainly refers to were gen- 
erated from within a particular sector of interest: the rationalization move- 
ment in industry and in office-work. Here one can observe a familiar para- 
dox in the modern movement: a system of beliefs that often encompassed 
revolutionary socialism and (capitalist) theories of business-efficiency.%% 
The most vivid precedent here was Lenin's espousal for the Soviet Union of 
a Taylorist approach to industrial organization. The prime mover behind the 


DIN (Deutsche Industrie-Normen) standards for office-work and printing 
would seem to have been Walter Porstmann, from whose writings 
Tschichold would have drawn most of his knowledge of the matter. 
Porstmann had written a doctoral dissertation on measurement systems, 
and had also worked as an assistant to the scientist Wilhelm Ostwald, 
among whose varied activities was the proposal for paper-size standardiza- 
tion that Tschichold describes in his outline history of the subject (pp. 
96-97).34 From at least 1917 and through the 1920s, Porstmann was an 
active participant in the development of the DIN standards that were of 
importance to printing and typography. 

Of the “principal categories” discussed in the second half of the book, the 
business letter-heading was the most ubiquitous and most fundamental item, 
and the one most thoroughly affected by standardization. One could also see 
it as the ground on which business efficiency and design-aesthetics most 
clearly come together, or confront each other. First, the DIN standard fixed 
the size of the letter-heading as its A4 format (297 *< 210 mm): the size 
that has become standard throughout the metric world (that is, everywhere 
except North America). And then, within the sheet, fields were established 
for the disposition of categories of information, as well as a minimum left- 
hand margin and positions for fold-marks and punch-holes. 

As Tschichold makes clear, he did not think that a DIN standard was any 
guarantee of design quality. His view of the design of publications issued 
by the Deutscher Normenausschuss, and the examples that it had designed 
to illustrate its standards, was that they were “of astonishingly low quality” 
(p. 112, footnote). Tschichold developed, here and elsewhere in his writ- 
ings of this time, a set of terms that he deployed to brilliant pedagogic 
effect.35 The possibilities form a spectrum from “unstandardized and unde- 
signed” (the example on p. 121), “standardized but undesigned” (p. 123), 
“unstandardized but designed” (p. 113), through to the most desired state 
of “standardized and designed” (p. 120). In particular, the contrast 
between the examples facing each other on pages 120 and 121 shows the 
order and clarity that Tschichold — more than the other New Typographers 
— was by then able to achieve. 


LETTERFORMS 
“Among all the types that are available, the so-called ‘Grotesque’ 
(sanserif) ...is the only one in spiritual accordance with our time” (p. 73). 


Here, as throughout the book, Tschichold gives his argument the largest 
world-historical resonance. But, by comparison with his arguments con- 


xXKV 


cerning all the other aspects of typography, it does seem that his attitudes 
to letterforms, and to typefaces in particular, were especially informed by 
the rationale of the Ze/tge/st and by larger, not strictly typographic, consid- 
erations. In the German-speaking world, more than in other cultures, the 
style of letterform could be a highly charged issue. A glance at the diagram 
on page 75 confirms this. In Germany, to set text in some variety of black- 
letter script was still normal in the 1920s; though, since the reforming 
movement of the previous few years, it was also on the wane. Tschichold’s 
discussion of the typefaces of current German newspapers (p. 212) is 
interesting evidence of this state of affairs: so too is his addendum note 
(p: 233) reporting that the Berliner Tageblatt was the first large German 
newspaper to go over entirely to roman (Antiqua) typefaces. One need only 
consider the subsequent history of letterforms in Germany, during the 
1930s and 1940s, to realize that Tschichold’s highly charged arguments 
were of a piece with the raised emotions of his times.36 

On the question of letterforms, the demands made by German New 
Typography, as expressed in this book, might be seen in this way: roman as 
a minimum demand: sanserif (as a special category of “roman”) as the pre- 
ferred choice; and then a reformed orthography and alphabet as the maxi- 
mum demand (discussed in the next section). Having asserted the appro- 
priateness — the necessity — of sanserif as the letterform of the modern 
world, Tschichold then makes the realistic qualifications that were always a 
feature of his writing, even at its most utopian. Thus: currently available 
sanserifs were not really satisfactory, and the recently designed ones, such 
as Erbar and Kabel, show the idiosyncrasies of the “artist's typefaces”: 
Futura, designed by Paul Renner, is better in this respect; but the satisfac- 
tory sanserif will probably come only through a process of collective and 
anonymous design (p. 74). It is interesting to note Tschichold’s recommen- 
dation of certain anonymously designed (seriffed) roman typefaces. Thus, 
he mentions Sorbonne, Nordische Antiqua, and Franzésische Antiqua — all 
now forgotten and out of use — as to be preferred over other available 
sanserifs and romans, for setting continuous text. “They are easily legible: 
they are also above all in a technical sense useful and free from personal 
idiosyncrasies — in the best sense of the word, uninteresting” (p. 76). This 
pleasure in the unassuming and the modestly efficient, coupled with a hefty 
dislike of the self-indulgently “artistic,” was a persistent motive throughout 
Tschichold’s career. 

As Tschichold explains (p. 75), in choosing a typeface for this book, he was 
constrained by what the printer had available. One may guess that the 


printer (the “Buchdruckwerkstatte GmbH”) was simply the printing office 
of the Bildungsverband.%” The typeface used was an “Akzidenz Grotesk”: a 
“jobbing sanserif,” designed anonymously, probably in the 1900s. For the 
reasons already outlined, he would have preferred this over any of the 
recently designed sanserifs, which (in the case of Futura) would hardly 
have been available for purchase at the time the book was being set. On 
the evidence of a contemporary catalogue, there could be several possibil- 
ities for a more exact identification of the typeface used.*® But, for the pur- 
pose of characterizing Tschichold’s preferences, “Akzidenz Grotesk” in a 
light (as against medium or regular) weight is sufficient description. He 
remarks (p. 75) that he wanted to show that such a typeface could be eas- 
ily read in continuous text — against the common assumption that sanserif 
is less legible or readable here than are seriffed letters. At least one reader 
complained about this aspect: “This thin typeface — and then printed on 
shiny art-paper — makes the reading of the book hardly the pleasant exer- 
cise that Tschichold assumes it will be."8% Tschichold was at least aware 
that readability was a prime issue, if one that was complicated by the other 
issues with which he was then concerned. 

In a later reference to the setting of his own book (p. 227), Tschichold 
mentions the constraint of having a sufficient quantity of type with which 
to set a long text: something that could militate against setting a book in 
sanserif. It is clear that he was then still working in conditions where 
hand-setting of books was common or even usual: in book printing, at 
least, if not throughout the industry.4#° In this light, it may not be so sur- 
prising that the mechanization of text-setting is not discussed or even 
mentioned in this book. Here, as elsewhere in architecture and design, 
modernist theory — which would have preferred machine-setting, as more 
in tune with the spirit of the age — could only run ahead of the real condi- 
tions of production.4' 


ORTHOGRAPHY 

For Tschichold, as for some of his visionary artist-designer colleagues, the 
question of letterforms could not be separated from orthography and a 
reform of the systems of written and printed language. And, as with letter- 
forms and the debate over black letter, there was a specifically German- 
language dimension to the matter. He argues for a revised orthography that 
would be phonetically exact and consistent, and for a single set of letters. 
The argument is shot through with the rhetoric of modernism: for economy 


of means, consistency, speed of action, greater comprehensibility, and 
(perhaps implicitly) abolition of hierarchy. It is part of the reform of life, and 
nothing to do with mere fashion, Tschichold insists (the advertisement from 
Vogue set in lower case, reproduced on page 80, sums up the empty fash- 
ionable manner). 

In comparison with other language communities, orthographic reform was 
more of a live issue in the German-language context, in which capital let- 
ters were (and still are) conventionally used for the first letter of every 
noun. So the proposal to abolish capitals would have had greater shock 
effect in German. As Tschichold points out with some evident pleasure 
(p. 81), the best source for these radical ideas was a book written, not by 
a philologist or artist, but by an engineer. This was Walter Porstmann, 
already introduced here as a principal proponent of paper-size standard- 
ization, whose Sprache und Schrift was published by the Verein Deutscher 
Ingenieure in 1920. Porstmann’s book is a quite extensive (108 pages, A4 
format) compendium of argument and evidence on these themes, put into 
the narrowly utilitarian typographic dress that was habitual in publications 
from standardization bodies. As with paper-size standardization, this 
reform was proposed by Porstmann and the Deutscher Normenausschuss 
merely on grounds of efficiency and commercial expediency; the argument 
was then translated into a new sphere of visual and also social-political 
consciousness by the artist-designers who took it up. 

Tschichold’s advocacy of lower-case typography (K/einschreibung) and a 
reformed orthography was first made in his e/ementare typographie mani- 
festo of 1925: “An extraordinary economy would be achieved through the 
exclusive use of small letters — the elimination of a// capital letters; a form 
of writing and setting that is recommended as a new script by all innova- 
tors in the field."*2 He then refers to Porstmann's Sprache und Schrift, and 
hints at the need to consider phonetics. The book was in the air at that 
time. Thus, in a letter to Tschichold in response to e/ementare typographie, 
El Lissitzky asked: “What sort of book is this Sprache und Schrift (Porst- 
mann)? If it is good, can you get it for me, | will send money at once.”43 
Several of the artist-designer New Typographers took up the cause of 
orthographic reform: El! Lissitzky and Laszl6 Moholy-Nagy had already pub- 
lished generalized proclamations, but now these demands began to be 
worked into visual form. In 1925, the Bauhaus went “lower case” in its pub- 
lications and internal communications, as part of a general shift towards a 
more industrially oriented modernism (summed up in the move from Weimar 
to Dessau).44 The three-part statement at the foot of the school’s letter- 


xXXi 


heading (reproduced here on p. 124) would have given any correspondent 
the theoretical justification, complete with reference to Porstmann’s book. 
Moholy-Nagy argued for “opto-phonetic” research towards a new script: 
Herbert Bayer published his essay towards a new alphabet; Joost Schmidt 
and Josef Albers used the notion of a simplified alphabet in teaching proj- 
ects. In 1927, Kurt Schwitters — who as a visually conscious “sound-poet” 
had an obvious interest in the matter — published his “Systemschrift.”45 
And in 1930, Tschichold too published an essay towards a reformed script, 
thus going some way towards fulfilling his own postulation (pp. 83-84) of 
a truly consistent and “economic” system.4® 

The debate over orthography was not confined to the artist-designers, as 
can be seen in the pages of 7ypographische Mitteilungen, particularly from 
around 1928. The issue of August 1929 contained a number of articles on 
the theme and an editorial affirming support for lower-case typography. 
One culmination came in 1931. A special issue in May included an editor- 
ial, which is unusual in its emphasis on the political aura of lower-case 
typography (as bringing equality of status to letters). The printers were 
asked to read the articles carefully, and then to vote on whether they pre- 
ferred (1) capitals at the start of sentences and for proper names only, (2) 
complete abolition of capital letters, (3) retention of present German 
orthography. The August issue reported the result: 53.5 per cent of the 
26,876 votes were for the first option, 23.5 per cent for the second, and 
23.0 per cent for the third. Around this time the debate over letterforms 
(black letter or roman) was coming to the fore again, and orthographic 
reform was pushed aside. Despite the result of this poll, /ypographische 
Mitteilungen never adopted the moderate reform of the first option. 


PHOTOGRAPHY 

"AS a consequence of the purity of its appearance and of the mechanical 
production process, photography is becoming the obvious means of visual 
representation in our time” (p. 88). Photography was an essential, con- 
stituent part of the New Typography, as Tschichold’s consideration of it in 
this book shows. His discussions here makes some defense of photography 
against the accusation that it cannot be “art” (but, given the modern move- 
ment’s attack on conventional notions of art, such a defense would be 
rather beside the point). An issue of more immediate moment was the dis- 
approval of photography within printing, particularly “fine printing” and tra- 
ditionalist book typography, which were then still devoted to hand- 
produced means of generating images. Here, Tschichold is unapologetic: 


xX 


“We today have recognized photography as an essential typographic tool of 
the present. We find its addition to the means of typographic expression an 
enrichment, and see in photography exactly the factor that distinguishes 
our typography from everything that went before” (p. 92). 

One should point out that there is a distinction to be made between pho- 
tography used as a means of reproduction in the processes of printing and 
the printed reproduction of photographic prints. Tschichold’s discussion, 
like many others, blurs the two phenomena. He is essentially concerned 
with the second — the evident presence of photography in printing — and 
not with the first phenomenon, which includes fundamental but hardly visi- 
ble innovations like photolithographic printing and (then still hardly devel- 
oped) photocomposition of text. 

The argument for the photographic image paralleled that for sanserif 
(equally disliked by t.aditionalists); and the two elements could then be 
joined in “typo-photo.”*7 This — the conjunction or juxtaposition of text and 
image — was really the defining method of New Typography in using 
images, and can be regarded as one of its lasting legacies, now so gener- 
ally employed as to be unnoticed or called simply “graphic design.” But, at 
this point, the issues surrounding photography were still contested. 
Through the common ground of typo-photo, New Typography spilled over 
easily into the parallel “new photography” movement. Thus Tschichold was 
one of a three-person executive committee for the Deutscher Werkbund's 
seminal “Film und Foto” exhibition, held in Stuttgart in 1929, and for which 
he also designed stationery. He was also the designer and joint author, 
with his friend Franz Roh, of the book that arose from this exhibition, foto- 
auge.*8 


THE NEW BOOK 

The last of the “principal categories of typography” to be considered is the 
book: apparently the stronghold of traditionalists, but also the subject of 
some recent visionary speculation. Tschichold describes and reproduces 
examples of work that breaks with conventional procedures of book design. 
Behind such work lay the hypothesis that the form of the book should 
adapt to new needs and new patterns of life (more active, more visual, a 
quicker tempo). Postulations of this kind were in the air then, and have 
resurfaced in various guises since. Certainly books were then becoming 
more visual. The integration of pictures with text was becoming technically 
easier, with developments in lithographic and gravure printing. The “inte- 
grated book,” with pictures placed beside the text relating to them, would 


also have been encouraged by the change of attitudes that New 
Typography brought about. This meant a disruption of “classical” ideas of 
separation and balance, towards a view of the book as a usable carrier of 
information. 

Tschichold touches on the social and material context of book production, 
showing again his deep dislike of bibliophile attitudes (pp. 224, 227). One 
can add something to his remarks here, and also suggest that “new books” 
were then being produced in Germany, as well as being postulated in 
visionary theory. From the mid-1920s a number of book clubs began to 
publish books that aimed to provide their members with affordable, well- 
produced, intelligent books, which were broadly progressive or socialist in 
content.49 The Bildungsverband’s own BUchergilde Gutenberg and the 
Bucherkreis, which had affiliations with the SPD (the German social- 
democratic party), were both launched in 1925, and may be mentioned 
here especially for the typographic quality of their books. Tschichold 
designed one book for the BUchergilde Gutenberg, the Fahrten- und 
Abenteuerbuch by Colin Ross (reproduced on p. 223, with his annoyed 
remark about a change in its design), which can be taken as typical of early 
exercises in New Typography in this medium: headings in bold sanserif 
type, ranged to the left; photographs as illustration, printed on the same 
paper as the text (though not on the same pages); page numbers set in 
bold sanserif, larger in size than the text typeface (an unostentatious ser- 
iffed type). Later, from around 1930, Tschichold worked (as a freelance) for 
the Bucherkreis: he was responsible for the design of most of their books, 
as well as for their leaflets, stationery, and graphic symbol. These books 
show New Typography developing a subtler approach — headings are now 
in smaller sizes, there is some integration of pictures with text — and at 
least one of these books was entirely set in Futura. 

Tschichold’s realism, in this his most extreme book, is evident on the clos- 
ing page of its text. His remarks about typefaces for books take into 
account availability, readability, and content. Finally, qualifying any absolute 
commitment to the DIN sizes, he suggests that books to be read while held 
in the hand will have to be put into formats other than these. In a moment 
of seemingly absurd but delightful precision, he suggests that at least the 
height of such books could be standardized at 176 mm: in fact the height 
of the B5 format (see the diagram on the facing page).5®° The tension 
between the wish to stick to agreed norms and the urge to design for 
human ease is resolved in this aside: “e.g. 176 mm depth for novels.” 


XXXIV 


AFTER DIE NEUE TYPOGRAPHIE 

The publication of the book came at a moment when the New Typography 
movement was consolidating, after a time of discovery and invention; and 
the book itself would have played some part in the process of growing self- 
awareness and self-confidence among those involved. Tschichold contin- 
ued to teach at the Meisterschule at Munich, although evidently restless in 
this position.5' He and other New Typographers continued to write and 
publish, though the difficulty of doing so — in a time of recession, growing 
unemployment, and political violence — can be seen and felt in the thinning 
issues of the journals of those years. /ypographische Mitteilungen is a case 
in point: its editorial comment increasingly takes on political concerns, so 
that the “struggle” for the New Typography is indivisible from the political 
struggle. 

Tschichold became, from 1928 and up to the end of his life, a remarkably 
prolific author of articles about typography in the specialist press: a bibli- 
ography lists around 175 such pieces, over almost fifty years.5% Three fur- 
ther books, or independent titles, on typography by him were published in 
Germany, before his emigration in 1933. Eine Stunde Oruckgesta/tung 
appeared in 1930: one might explicate the title as “one hour for most of 
what you need to know about the subject of designing for print.” Tschichold 
used the occasion to publish perhaps his most compact and compelling 
statement of the principles of New Typography, as a preface to an anthol- 
ogy of examples, which follows the themes and methods of the second half 
of the present book.5® Schriftschreiben fur Setzer (1931) is a brief (32 
pages, landscape A5 format) introduction to letterforms and to the practice 
of formal writing for printing-compositors. 7Typografische Entwurfstechnik 
(1932) is another short (24 pages, A4 format) manual, also directed at 
compositors and typographers. It explains techniques of drawing printing- 
typefaces on layouts — a topic largely passed over in the literature of prac- 
tical typography — as well as providing design instruction and useful infor- 
mation on the DIN formats. These works assume and demonstrate the 
integration of New Typography into the everyday practice of printing: as if 
the revolutionaries had captured the key centres of control, and it now 
remained for their ideas to be spread calmly into the lifeblood of the whole 
system. 

some of the other literature of New Typography from these years should be 
mentioned, as a reminder that the ideas of the movement emanated from 
more than one source. Paul Renner’s Mechanisierte Grafik (1931) makes an 


interesting contrast with Die neue Typographie. A work of theory, rather 
than a practical manual, its discussion is consistently general, as if from a 
level above that of the pointed specificity of Tschichold’s writing (even at 
its most theoretical).54 While of approximately the same size and number of 
pages, the design of the two books is markedly different. Although set in a 
sanserif (his own Futura), Renner’s book still feels conservative: text set in 
quite a large type-size and well leaded, printed on an uncoated cartridge 
paper, while the pictures are printed on an art-paper section at the end. By 
comparison, in content and in its own form, Die neue Typographie is more 
severe and more committed to a new vision. 

Closer in spirit to Tschichold’s book was Gefesse/ter Blick (which might be 
translated as “captured glance"), a sequence of “25 short monographs” 
edited by Heinz and Bodo Rasch.§§ This book contains short introductory 
considerations of “the image” and “letters,” followed by its main content of 
the monographs: a short biography of the designer, a statement (signed 
with a facsimile signature), and examples of work. Among the twenty-five 
participants, the Ring “neue werbegestalter” designers were all repre- 
sented, and the book and an accompanying exhibition in Stuttgart were 
arranged with the collaboration of the Ring. Tschichold’s statement of posi- 
tion was very brief: “In my graphic design, | attempt to achieve maximum 
purposefulness [ZweckmdaGigkeit]) and to unite the individual component 
parts harmonically: to design [zu gesta/ten]."” By comparison with Die neue 
Typographie, in which Tschichold is the sole mediator and reporter, 
Gefesse/ter Blick, in its anthology or group character, is an even clearer 
indication of New Typography as a movement. 

The Bildungsverband der Deutschen Buchdrucker published another hand- 
book in 1929: Grundsatzliches zur neuen Typographie by Philipp Albinus. 
This short work (52 pages, just smaller than A5 format) points up, by con- 
trast, the qualities of Die neve Typographie. The book includes some ideo- 
logical references, as well as instruction about design, but Albinus (a 
printer) was without the formal sensitivity and verbal eloquence that 
marked Tschichold. The same can be said of the book Modern Typography 
and Layout (1929) by the American printer Douglas McMurtrie: an early, 
stray treatment of the subject from the English-language world. 


TSCHICHOLD’S EMIGRATION 

Early in March 1933, Tschichold was taken into “protective custody” by the 
recently installed National Socialist authorities in Germany.5®& He was 
included in the crack-down, soon after Hitler's seizure of power, against 
those termed “cultural bolsheviks” and other opponents of the regime. 


XXXVI 


There would, for example, have been enough evidence of this “cultural bol- 
shevism” within the pages of Die neve Typographie, if the new authorities 
had chosen to look through its pages. And in his case, as already indicated, 
perhaps unremarkable socially progressive modernist views had been 
coloured by a specific affiliation to Slavic culture. Tschichold was held for 
about six weeks, during which time he was dismissed from his post at the 
Meisterschule. The conditions of detention were lenient enough for him to 
design a book-binding for the Insel-Verlag, before being released under a 
general amnesty of such prisoners. Jan and Edith Tschichold, with their 
young son, then immediately made plans to emigrate to Switzerland. 
Tschichold secured a part-time job with the printer and publisher Benno 
Schwabe at Basel, and some teaching work at the Gewerbeschule there, 
and moved with his wife and child in July 1933. 

Since the late 1920s, Tschichold’s typography had begun to show a greater 
subtlety and sophistication: a development that was continued and accen- 
tuated in his first years in Switzerland. The prime document from this 
period was his book Jypographische Gestaltung, published in Basel by 
Schwabe (1935), and in foreign-language editions: Danish, Swedish (both 
1937), and Dutch (1938).5? The book follows the structure of Die neue 
Typographie: a historical review, a statement of the aims of New 
Typography, and then detailed consideration of the elements of typography, 
ending with a section on “the new book.” But the language is more consid- 
ered, with much less invocation of the “spirit of the time” and with more 
emphasis on the details of typographic design. This commitment to details 
— always present in his work — would have been helped in its development 
through his experience with the printer-publisher Schwabe, where the 
work would have encompassed editorial, printing-technical, and design 
considerations.5® The shift away from ideological argument can be seen as 
a response to “the times,” which were indeed very bad. The political storms 
and ruptures had, as one small side effect, destroyed the confidence with 
which Tschichold could publish lists of like-minded designers in Europe: 
their addresses had now changed or were uncertain and contact with them 
had ceased. The New Typography as a “movement” had come to an end. 
Tschichold was unusual among emigrés from Germany in the way in which 
he was (after some years of insecurity) able to settle and integrate into 
Swiss society: in 1942, he was granted citizen's rights in Basel; and it was 
remarked that he learned to speak flawless Swiss-German dialect.59 The 
trauma of 1933, the slide of world politics towards war, the new context of 
a politically neutral and culturally more stable society, his growing and 
eventually almost exclusive concentration on book design: these are among 


the factors that can be mentioned in Tschichold’s turn to a traditional 
approach to typography. Another factor that has been mentioned is his 
contact with the “new traditionalist” typographers in England (Stanley 
Morison and Oliver Simon, most notably), whom he would have met per- 
sonally on a visit to London in 1937, when he addressed the Double Crown 
Club in an after-dinner speech.®®° The change may be dated (on 
Tschichold’s own account) to around 1938: from which time he worked 
almost exclusively in the symmetrical mode, with typefaces deriving from 
pre-industrial models (though in versions made for machine composition); 
and from being a tireless promoter of modernism in typography, he became 
one of its most acute and sometimes acid critics.®! 


AGAINST THE NEW TYPOGRAPHY 

The first published statement of position came in 1946, in a reply to Max 
Bill who had made a barely veiled attack on his change of position.®? 
Tschichold’s argument was notable for its moral and political dimension, 
especially for its contemplation of the seemingly inevitable loss of human 
values in industrialized labour. A key passage (set in italics) read: 


Its [the New Typography’s] intolerant attitude certainly corresponds 
in particular to the German inclination to the absolute; its military 
will-to-order and its claim to sole power correspond to those fearful 
components of German-ness which unleashed Hitler’s rule and the 
Second World War.®% 


This was uttered in the heat of a polemical exchange, and in the immediate 
aftermath of the war. 

Tschichold maintained this political-philosophical charge against the New 
Typography for the rest of his life, though later he put it in less intense lan- 
guage. He also came to emphasize a set of more purely typographic objec- 
tions to modernism in this field. Thus in an exchange with the modernist 
“Swiss typographers” (as they are now termed) who came to prominence in 
the late 1950s, he made a number of powerful criticisms of the New 
Typography (or, more exactly, the typography that it had by then led to in 
Switzerland).6* Among these objections were: that it was essentially limited 
to publicity work and to the subject matter of the modern world, and could 
not deal with the complexities of book design; that in relying on sanserif, it 
used an unbeautiful letterform that could not be read easily as continuous 
text; that the DIN paper-sizes were inappropriate for many purposes, 
books above all; that it tended to adopt a rigid formalism that failed to 
articulate the meaning of the text; that it lacked grace. 


DIE NEUE TYPOGRAPHIE IN ITS CONTEXT 

Tschichold was by this time speaking from vast experience, particularly as 
a book designer, and in a context — the German-speaking world in the 
years of the Federal Republic's “economic miracle” — very different from 
the fresh and uncertain years of Weimar Germany, in which the New 
Typography had come into existence. The gap between the two moments 
contains a world war, extraordinary devastation and reconstruction, and, 
although only thirty years in extent, it covers a profound change in the 
quality of culture and society. It was perhaps inevitable and understandable 
that the later Tschichold should have wanted to modify and sometimes for- 
bid the republication of the documents of his New Typography. 

In an obvious and fundamental sense, he was still the same author: 
although his views had changed, he had the same traits of a polemical 
manner and a passion for detail, the same wish to point out faults, which he 
did for anyone whom he saw making errors, including his younger self. 
Although the change of approach surprised contemporaries, the continu- 
ities of Tschichold’s career may now be seen to outweigh the breaks. Even 
at the time of its publication, his old teacher at Dresden, Heinrich Wieynck, 
observed that Die neve lypographie was a marker in a development that 
was not over yet; he wondered if this development could “perhaps in the 
future restore Johannes to a place of honour."®5 This was a remarkable per- 
ception, although false in the sense that the “Johannes” who returned was 
not the Johannes of Leipzig or Dresden in 1921, but the Jan” of Basel in 
the late 1930s (and subsequently). In other words: a typographer who had 
incorporated the experiences of his times and contexts, and whose work 
evolved into something fresh. The context of the present edition of Die 
neue Typographie is different from any that its author knew. Equally, the 
present edition will have an afterlife in contexts that we cannot imagine. 
But we do know something of the first context of this book, five thousand 
copies of which were printed and published in Berlin in the summer of 
1928. 


ACKNOWLEDGMENT 

For help with research and in the writing of this introduction, | am grateful 
for help and advice given by the following people: Andras Furész, Richard 
Hollis, James Mosley, and the Resource Collections staff at the Getty 
Center for the History of Art and the Humanities. An important collection of 
Tschichold papers is now in the collection of the Getty Center, but became 
available too late for me to consult for this work. Except where noted, 
translations from German texts other than the present book are by myself. 


MAKI 


A fairly complete edition of Tschichold’s writings has been published as 
Schriften 1925-1974 (2 vols.; Berlin: Brinkmann & Bose, 1991-92); refer- 
ences to texts reprinted there are given as “Schriften.” 


* Walter Benjamin, Einbahnstra&e (Berlin: Rowohlt. 1928), p. 7. The translation quoted here is 
very slightly modified from Edmund Jephcott's in: Walter Benjamin, One-Way Street and Other 
Writings (London: NLB, 1979), p. 45. 

1. Except where noted, biographical information on Tschichold is taken from the account written 
by the subject himself: “Jan Tschichold: Praeceptor Typographiae.” This text was first published 
under the pseudonym “Reminiscor” in 7ypographische Monatsbiatter, vol. 91, no. 4 (April 1972). 
on the occasion of Tschichold’s seventieth birthday. It was reprinted as the principal text in the 
monograph whose content and design he determined, though it appeared after his death: Leben 
und Werk des Typographen Jan Tschichold (Dresden: VEB Verlag der Kunst, 1977; [reset and 
slightly altered edition) Munich: Saur, 1988: also Schriften 2:416-433). 


2. Leben und Werk des Typographen Jan Tschichold, p. 16 (Schriften 2:422). The large claim — 
perhaps a true one — that Tschichold was the first typographic designer is quite typical of the 
tone of this anonymous autobiographical Festschrift essay. 


3. The book-artist (Emil Rudolf Weiss was a characteristic example) is slightingly referred to also 
in Die neue Typographie. Throughout his career, against figures of that kind, Tschichold worked 
as the capable professional who knew his job in all its details. 


4. “Er... kam aufgewudhit zurick": he came back all churned up (Leben und Werk des 
Typographen Jan Tschichold, p. 17: Schriften 2:423). 


5. See Edith Tschichold’s contribution to Philipp Luidl. ed.. J/.7 (Munich: Typographische 
Gesellschaft, 1976). pp. 29-33. Tschichold’s first letter to Lissitzky. 19 January 1925 (reproduced 
in facsimile as a loose insert in this book), explained: “Herr Moholy-Nagy knows me very well and 
has given me your address. | am the only typographic Constructivist in Leipzig.” 


6. Edith Tschichold explained the changes in the names of her (then) late husband in her contri- 
bution to Luidl, / 7 When later “Iwan” proved to be an irritant to the conservative sensibilities of 
his colleagues and employers at Munich, Tschichold chose “Jan,” as the Slav form of “Johannes.” 
In his contribution to the same book, Werner Doede quoted a letter to him from Tschichold: 

. now ‘Jan’ instead of ‘lvan,’ since Munich! ‘Ivan’ is impossible here!” (5 June 1926). These 
changes and their significance were noted at the time by Tschichold’s teacher at Dresden, 
Heinrich Wieynck, in his perceptive review of Die neve Typographie in Gebrauchsgraphik (see 
note 16). 


7. See, for example, the discussion of the Japanese newspaper in this book (p. 206). with its 
side-blow against “North American pseudo-culture.” Unlike some of the Weimar modernists, 
Tschichold showed no romantic longings for America. 


8. This has been reprinted twice. most accessibly by the printers and publishers H. Schmidt 
(Munich, 1986). e/ementare typographie was quite long in preparation: at Easter 1925, 
Tschichold wrote to Imre Kner that publication had been delayed until July (letter dated 
“Pfingsten 1925” in the Békés County Archive. Gyula, Hungary). 


9. Tschichold himself suggested this in a letter to Piet Zwart, 31 August 1927 (Getty Center 
Archives. Santa Monica: file 850831). 


10. See the account by Friedrich Friedl in his introductory text to the 1986 reprint. 


11. References in correspondence from this time suggest that relations between Renner and 
Tschichold were quite distant and difficult. For example, Tschichold advised Piet Zwart to send 
examples of work to him rather than to Renner, adding “Renner still doesn’t know who you are. 
And he is someone who has changed sides [ein Uberlaufer)” (14 December 1927, Getty Center 
Archives, Santa Monica: file 850831). Edith Tschichold described Jan Tschichold’s years in 
Munich, including the situation at the Meisterschule. in an interview published in: Deutscher 
Werkbund, Die zwanziger Jahre des Deutschen Werkbunds (GieBen: Anabas. 1982), pp. 183-192. 


xi 


12. “Jan Tschichold Uber die neue Typographie” [signed “Neumeyer (Munchen)"], 7ypographische 
Mitteilungen 24, no. 1 (January 1927): 22. This short précis of Tschichold’s lecture suggests that 
most of the ideas of the book were already formulated by this time. 


13. | owe this perception to Hans Schmoller, Tschichold’s successor at Penguin Books, who 
wrote: “Whether he was the perfect teacher may be open to doubt. He rarely wanted to use the 
Socratic method .. .” (Hans Schmoller, Two Titans: Mardersteig and Tschichold [New York: The 
Typophiles, 1990]. p. 26). 

14. Letter of 15 August 1927 (Getty Center Archives, Santa Monica: file 850831). 


15. The sum is in line, for example. with prices for books published by the Bildungsverband's 
Buchergilde Gutenberg, which were kept to a minimum level. In these years, there was some pub- 
lic debate over book prices in Germany, reflected in Tschichold’s discussion here (pp. 230. 231): 
see note 48 below. 


16. A thorough search has not been attempted, but two interesting reviews are: Heinrich 
Wieynck, “Die Wandlungen des Johannes,” Gebrauchsgraphik 5, no. 12 (December 1928): 77-79; 
an untitled and anonymous review in bauhaus 3, no. 2 (1929): 28. 


17. See, respectively, the lists in Tschichold’s Eine Stunde Druckgestaltung (Stuttgart: Wedekind, 
1930) and Schriftschreiben fir Setzer (Frankfurt a.M.: Klimsch, 1931). 


18. Letter of 3 February 1929 (Getty Center Archives, Santa Monica: file 850831). 
19. Postcard of 28 September 1930 (Getty Center Archives, Santa Monica: file 850831). 


20. Letter of 16 February 1932 (Getty Center Archives, Santa Monica: file 850831). In the book’s 
statement of copyright. it is stated that “all rights are reserved by the author, in particular those 
of translation into other languages, including Russian.” 


21. Letter of 29 September 1932, in: El Lissitzky, Proun und Wolkenbugel (Dresden: VEB Verlag 
der Kunst, 1977), p. 138. 


22. A second edition, described as such on its title page, was published in 1987 by Brinkmann & 
Bose in Berlin. Apart from its title and imprint pages, it is a facsimile reprint. 


23. Several of these texts are available in English translation in: Ulrich Conrads. ed., Programmes. 
and Manifestoes on 20th-Century Architecture (London: Lund Humphries, 1970). 


24. Quoted from the English translation by Frederick Etchells: Le Corbusier. 7owards a New 
Architecture (London: Rodker, 1927), p. 33. 


25. Notably as designer for the Bicherkreis book club (from around 1930 to 1933). which was 
affiliated to the German social-democratic party (SPD). Tschichold’s Leben und Werk reproduces 
(illustration section, p. 41) a cover for the magazine Sportpolitische Rundschau (1928) that might 
stand for “left-wing graphic design” of this period: just as would the strikingly similar cover of a 
KAPD magazine Pro/etarier (1927). which Tschichold reproduces on p. 217 of the present book. 
(The KAPD was a “left-radical” grouping, which broke away from the main German communist 
party in 1920.) Tschichold was not the sort of person who joins political parties, but such asso- 
ciations were inevitable for someone of his inclinations — and in 1933 it was equally inevitable 
that he should have been detained as a “cultural bolshevist.” 

26. bauhaus 3, no. 2 (1929): 28. 

27. The most complete documentation of the Ring is provided by a set of four exhibition cata- 
logues published under the title 7ypographie kann unter Umstadnden Kunst sein. See, in particular: 
Ring “neve werbegestalter” 1928-1933: Ein Uberblick (Hannover: Sprengel Museum, 1990): Ring 
“neue werbegestalter"; Die Amsterdamer Ausstellung 1931 (Wiesbaden: Landesmuseum 
Wiesbaden, 1990). The other two catalogues, both published by the Landesmuseum Wiesbaden, 
document the typographic work of Kurt Schwitters and Friedrich Vordemberge-Gildewart. 

28. The flavour of the Ring’s activities is conveyed in the typewritten communications that 
Schwitters circulated. Those received by Piet Zwart are now in the Getty Center Archives, Santa 
Monica (file 850831). and are transcribed and published in Ring “neue werbegestalter”, Die 
Amsterdamer Ausstellung 1931, pp. 112-116. 

29. See the references in Schwitters’ circulars, particularly the members’ comments quoted in his 
“Mitteilung 19” (1928): Ring “neue werbegestalter”: Die Amsterdamer Ausstellung 1931, pp. 
115-116. 


30. Herbert Bayer was the only “master” at the Bauhaus with a long-term commitment to typog- 
raphy: but — by comparison with Renner, Tschichold, or Trump, at Munich — his work showed lit- 
tle of the calligraphically trained and historically informed typographer's sensitivity to letterforms 
or to the handling of text. 

31. This was one of the issues raised implicitly by Max Bill, whose “Uber typografie” (see note 62 
below) was set unjustified and without word-breaks; in his reply. Tschichold pointed to Eric Gill's 
earlier use of it and to the fact that machine-composition could handle either mode with the same 
facility. Another notable explorer of unjustified setting was the Dutch designer Willem Sandberg, 
from the 1940s onwards. 

32. Some account of the German standards bodies is available in an anniversary history: Bruno 
Holm, ed.. Funfzig Jahre Deutscher Normenausschu& (Berlin: Beuth-Vertrieb, 1967). 

33. On the history of Taylorism and “Scientific Management.” see: Judith A. Merkle, Management 
and Ideology (Berkeley. Los Angeles, London: University of California Press, 1980). Of particular 
relevance here is Merkle’s chapter on “Scientific Management and German rationalization,” which 
outlines the “central role” of the Verein Deutscher Ingenieure in introducing Taylorism into 
Germany. 

34. Walter Porstmann (1886-1959) is at present an obscure figure, but he is referred to in Holm, 
Funfzig Jahre Deutscher Normenausschu&, and something can be inferred also from the entries 
under his name in the National Union Catalog published by the Library of Congress, Washington, 
D.C. Ute Bruning has chased him in notes to two articles: “Zur Typografie Herbert Bayer,” in 
Herbert Bayer: Das kunstlerische Werk 1918-1938 (Berlin: Bauhaus-Archiv, 1982), pp. 118-137: 
“Die neue plastische Systemschrift.” in “Typographie kann unter Umstaénden Kunst sein”: Kurt 
Schwitters, Typographie und Werbegestaltung (Wiesbaden: Landesmuseum Wiesbaden, 1990). pp. 
98-107. Ostwald published his views — and his resentment — concerning the development of the 
German paper-size standard in an autobiography, Lebenslinien (Berlin: Klasing, 1926-1927), 
3:300-308. 

35. See especially his Eine Stunde Druckgestaltung. pp. 14-25. 

36. While during the 1930s the National Socialists predominantly preferred black letter as the 
most “German” letterform, the argument was finally settled by Hitler's decree of 1941, which out- 
lawed black letter as “Jewish.” Just as the National Socialists eventually opted for neoclassical 
architecture, so too in typography, roman became the form that fitted the dreams of a world 
empire. For some detailed discussion, see: Hans Peter Willberg. “Schrift und Typografie im Dritten 
Reich,” in Hundert Jahre Typographie: Hundert Jahre Typographische Gesellschaft Munchen 
(Munich: Typographische Gesellschaft Minchen, 1990). pp. 87-103. 

37. They shared the same postal district of Berlin, SW61, and the Buchdruckwerkstatte was also 
the printer of books published by the Bichergilde Gutenberg (the Bildungsverband’s book club), 
and seems to have moved with the Bildungsverband from Leipzig to Berlin. 

38. See the Handbuch der Schriftarten, compiled and published by Albrecht Seeman (Leipzig. 
1926). Among the samples shown on p. 193, the “Grotesk P, Breite magere” from Berthold closely 
resembles the typeface of the book — but so do nine others. 

39. Wieynck, “Die Wandlungen des Johannes,” p. 77. 

40. Typographische Mitteilungen published regular reports of the number of typesetting 
machines installed in Germany. taken from the “Jahresbericht der Zentralkommission der 
Maschinensetzer Deutschlands”: these show a steady growth in these years, but the relation to 
hand-setting remains to be determined. 

41. For one instance of modernist consciousness of machine composition. see note 55 below. 
Seven years later, in his second major book, Tschichold did devote some paragraphs to machine 
composition (7Typographische Gestaltung [Basel: Schwabe, 1935], pp. 32-33). 

42. elementare typographie (= Typographische Mitteilungen, vol. 22, no. 10 [October 1925]). 
p. 198. 

43. Letter of 22 October 1925. in Lissitzky, Proun und Wolkenbdgel, p. 137. 

44. Much the best source here is: Gerd Fleischmann, ed.. Bauhaus Typografie (Dusseldorf: 
Edition Marzona, 1984). All the Bauhaus material referred to in this paragraph can be found in 
this compendium. 

45. First published in his article “Anregung zur Erlangung einer Systemschrift.” /70 1, no. 8/9 
(August-September 1927): 312-316. See also the article by Ute Bruning (note 34 above). 


46. In an article entitled — as if he were conscious of the by then growing list of such experi- 
ments — “noch eine neue schrift.” published as an insert to 7ypographische Mitteilungen, vol. 27, 
no. 3 (March 1930). 

47. This idea can be seen reflected in contemporary advertising for Futura, as the typeface “for 
photomontage” (for example, in 7Typographische Mitteilungen, April 1929). 

48. Among the literature of the new photography. see: Ute Eskildsen and Jan-Christopher Horak, 
Film und Foto der zwanziger Jahre (Stuttgart: Wurttembergischer Kunstverein, 1979); David Mellor, 
ed., Germany: The New Photography 1927-33 (London: Arts Council of Great Britain, 1978). Roh and 
Tschichold’s foto-auge (Stuttgart: Wedekind, 1929) was published in facsimile reprint (London: 
Thames & Hudson, 1974). Another result of the Roh-Tschichold collaboration was the “Fototek” 
series, edited by the former. designed by the latter, and published by Klinkhardt & Biermann in 
Berlin. Only volumes on Moholy-Nagy and Aenne Biermann appeared (in 1930). 

49. See: Michael BUhnemann and Thomas Friedrich, “Zur Geschichte der Buchgemeinschaften 
der Arbeiterbewegung in der Weimarer Republik.” in Wem gehért die Welt (Berlin: Neuve 
Gesellschaft flr Bildende Kunst, 1977), pp. 364-397; Horst Bunke and Hans _ Stern, 
Buchgestaltung fur die Literatur der Arbeiterklasse 1918-1933 (Leipzig: Deutsche Bicherei. 
1982). The Malik-Verlag has been voluminously celebrated, though it is not of special interest 
typographically. But see: Jo Hauberg et al.. eds., Der Malik-Verlag 1916-1947: Chronik eines 
Verlages (Kiel: Neuer Malik-Verlag, 1986), whose thorough documentation includes (pp. 
114-119) articles first published in Die We/tbUhne in 1928 on the theme of the price of German 
books (“Ist das Deutsche Buch zu Teuer?"). 

50. Gerd Fleischmann in a perceptive essay (“‘Kénnen Sie sich einen Flieger mit Vollbart 
vorstellen?’” in Beiheft: Die neue Typographie (Berlin: Brinkmann & Bose, 1987]. pp. 33-46) also 
remarks on this “surprising and fascinating” detail (p. 33), but does not notice the derivation 
from the B5 format. 

51. As is clear from his private correspondence of this time (for example in letters to Piet Zwart). 
There were also premature public announcements that he had taken jobs in Vienna, presumably 
at the Gesellschafts- und Wirtschaftsmuseum, which he visited briefly then (7ypographische 
Mitteilungen 26, no. 9 (September 1929]: 225), and at the Héhere Graphische Fachschule in 
Berlin (7ypographische Mitteilungen 30, no. 3 [March 1933]: 92). 

52. Schriften 2:444-454. 

53. “Was ist und was will die Neue Typografie.” in Eine Stunde Druckgestaltung, pp. 6-8 
(Schriften 1:86-94); this text was published in translation in French and English magazines, in 
1930. Adolf Behne's Eine Stunde Architektur (1928) had also been published by Wedekind: sug- 
gesting an “Eine Stunde” series. 

54. Renner did write a more practical counterpart to this book: Die Kunst der Typographie 
(Berlin: Frenzel & Engelbrecher, 1939; rev. ed., Berlin: Druckhaus Tempelhof. 1948), but by then 
his already tempered modernism had tempered further. 

55. Heinz and Bodo Rasch, Gefesse/ter Blick: 25 kurze Monografien und Beitrdge Uber neuer 
Werbegestaltung (Stuttgart: Zaugg. 1930). The Rasch brothers worked across the whole range of 
design disciplines and came to typography with a certain untroubled freshness. Thus in a note on 
the text of their book (p. 2): “.. . machine composition was used as a matter of principle (noth- 
ing but lines of equal length). The lines contain 65-70 characters, in all of the three type sizes 
that are employed. This is the longest line that, with this typeface, is still comfortably readable.” 
56. Edith Tschichold described this, in the considerable detail with which traumatic events are 
remembered, in the interview published in: Deutscher Werkbund, Die zwanziger Jahre des 
Deutschen Werkbunds, especially pp. 188-191. 

57. An English-language edition appeared much later (London: Faber & Faber, 1967). It shows 
the awkwardness that Tschichold found in dealing with his younger self: the book’s design (by 
Tschichold) hesitates between symmetry and asymmetry: warning footnotes are inserted by the 
older author; the discussion of standard paper-sizes is omitted (although these were then being 
introduced in Britain): and the title of Asymmetric Typography represented a revision of his ear- 
lier assumption, implied in the 1935 title, that New Typography was not a special category, but 
that it provided the obvious central ground for all “typographic design.” 

58. See the composition rules that he drew up for Benno Schwabe (Leben und Werk des 
Typographen Jan Tschichold, pp. 22-23: Schriften 1:202-204). This experience, as well as his 


work for the publisher Birkhauser (from 1941), led on to his celebrated reform at Penguin Books 
(1947-1949). For an account of the latter, including reproduction of the Penguin composition 
rules, see Ruari McLean, Jan Tschichold: Typographer (London: Lund Humphries, 1975), pp. 
86-104. 

59. Legislation that deterred the settlement of refugees from the occupied countries was enacted 
in Switzerland, which tended to be a transit zone for them. See: Helmut F. Pfanner, “The Role of 
Switzerland for the Refugees.” in: Jarrell C. Jackman and Carla M. Borden, eds., The Muses Flee 
Hitler (Washington, D.C.: Smithsonian Institution Press, 1983), pp. 235-248. Max Frisch's remi- 
niscences (“Jan Tschichold als Nachbar") in Luidl, /.7, pp. 81-85, give an impression of the older. 
Swiss Tschichold. 

60. This is one of the suggestions made by G. Willem Ovink in his thorough and perceptive arti- 
cle “Jan Tschichold 1902-74: Versuch zu einer Bilanz seines Schaffens.” Quaerendo 8, no. 3 
(Summer 1978): 187-220. 

61. It was around 1937 that Tschichold began to give away or sell his collection of modernist 
typography, which would have come to him partly through work on books such as Die neue 
Typographie. (Bruno Monguzzi observes this in the course of his meticulous investigation, “Piet 
Zwart: L‘opera tipografica 1923-1933.” Rassegna, no. 30 [June 1987]: 4-88; see p. 9. note 35.) 
But if there were emotional reasons for Tschichold to shed this material then. there may have 
been financial pressures too. Among institutions to acquire such work from him then were the 
Museum of Modern Art (New York) and the Victoria and Albert Museum (London). 

61. Max Bill, “Uber typografie.” Schweizer Graphische Mitteilungen 65, no 4 (April 1946): 
193-200: Jan Tschichold, “Glaube und Wirklichkeit,” Schweizer Graphische Mitteilungen 65, no. 6 
(June 1946): 233-242: an English translation of Tschichold’s text is given, as “Belief and Reality,” 
in McLean, Jan Tschichold: Typographer, pp. 131-139. Bill's statement is a manifesto for his own 
typography. as well as an attack on Tschichold (whom he does not name). 

63. Tschichold. “Glaube und Wirklichkeit.” p. 234. 

64. “Zur Typographie der Gegenwart,” Bérsenblatt fur den deutschen Buchhandel 13 (1957): 
1487-1490. Tschichold's article appears to have stimulated a special issue of 7ypographische 
Monatsbiatter (vol. 78, no. 6/7 [June/July 1959]). with contributions from most of the leading 
Swiss typographers of that time, including a point-by-point response by Emil Ruder, which used 
the title of Tschichold’s original article (pp. 363-371). 

65. Wieynck, “Die Wandlungen des Johannes.” p. 79. 


JAN TSCHICHOLD 


THE NEW TYPOGRAPHY 


A HANDBOOK FOR MODERN DESIGNERS 


BERLIN 1928 


PUBLISHER FOR THE EDUCATIONAL ALLIANCE OF GERMAN PRINTERS 


CONTENTS 


introduction ae i ee a ee Yt ee ee 7 


GROWTH AND NATURE OF THE NEW TYPOGRAPHY 
The new world view ___$_-____ (te 
The old typography (1440-1914), retrospective view and criticism__ 15 


EVO: OW ceased, ec ey Spee Ge ee 30 
The history of the new typography___ Ci‘ UU CU 
The principles of the new typography. Ci‘ CC‘Ct«‘i HH 
Photography and typography... ._... dase 87 
New typography and standardization... CC—Cs‘C;C‘C‘CsCsCSssSCSC—CSsS<‘SSC; 


PRINCIPAL TYPOGRAPHIC CATEGORIES 


The typographic symbol]l__————ssS—COeesSSS—C—e CdD 
The business letterhead. sa 
The half letterhead wih a aay gs 127 
Envelopes without windows__ sd 
Window envelopes. YS 
The postcard. aa eet ee 136 
The postcard with flap__ 
The business card. «aI 
The visiting-card epetco te toe AGO 
Advertising matter (slips cards leaflets prospectuses catalogues) __ 151 
The typo-poster_ Ca 
The pictorial poster shahi een Ain welt en | =) | 
Labels, plates, and frames__ CCG 
Advertisements 195 
The periodical = hes ite Sues SOM 
The newspaper : 212 
The illustrated paper 215 
Tabular matter =, 217 
The new book 217 
Bibliography 229 


List of Addresses RT Seren ees 235 


PIET MONDRIAN: 

For the man of today there exists 
only the equilibrium between nature 
and spirit. At every moment of the 
past all variations of the old were 
“new” — but they were not “THE” 
new. We must never forget that we 
are now at a turning-point of civiliza- 
tion, at the end of everything old. 
This parting of the ways is absolute 
and final. 


INTRODUCTION 

The appearance of my Special Number of 7ypographische Mitteilungen enti- 
tled e/ementare typographie started a lively discussion of the questions 
raised therein throughout the printing associations and printing-trade jour- 
nals of Germany. The New Typography, after being violently attacked and 
often decisively condemned, has now established itself in central Europe. 
Its manifestations confront modern man at every step. Even its most ardent 
opponents have eventually had to resign themselves to accepting it. 

But much remains to be done. Many still regard the New Typography as 
essentially a kind of technical-symbolical formalism, which is the exact 
opposite of what it really is. This attitude is historically understandable: the 
old typography was formal in concept: it has nothing at all to do with 
recent attempts to turn the book printer into a commercial graphic artist, 
which would be foreign to the true nature of his profession. 

An explanation of the spiritual principles of the New Typography is there- 
fore an absolute necessity for all who wish to be successful in the field of 
printing. Merely to copy its external shapes would be to create a new for- 
malism as bad as the old. We must free ourselves completely from the rigid 
patterns of the past, and training in calligraphy or graphics alone will never 
achieve this. It will come only from a complete reorientation of the role of 
typography and a realization of its spiritual relationship with other activities. 
The laconic brevity of the proclamation of the New has created the need for 
a fuller account, which it is the purpose of the present volume to provide. 
The author also felt it important to set down guidelines for the design of 
the commonest jobbing printing and above all to acquaint printers with the 
standards of book printing which are every day gaining wider acceptance. 
No book providing these general guidelines has ever before existed, no 
doubt owing to the chaotic appearance still presented by typography today. 
Despite its many illustrations this is not a copybook. It is intended to stim- 
ulate the printer and make him aware of himself and the true nature of his 
work. As with my Special Number e/ementare typographie, a brief leafing- 
through of its pages will lead only to misunderstandings and new errors. 
The “form” of the New Typography is also a spiritual expression of our 
world-view. It is necessary therefore first of all to learn how to understand 
its principles, if one wishes to judge them correctly or oneself design 
within their spirit. 

The illustrations in this book, with few exceptions examples of practical 
work, prove that the concepts of the New Typography, in use, allow us for 
the first time to meet the demands of our age for purity, clarity, fitness for 
Purpose, and totality. 


Modern man, whose vision of the world is collective-total, no longer 
individual-specialist, needs no special reminder of the rightness of being 
closely aware of such related activities as modern painting and photogra- 
phy. | therefore thought it desirable to say something more about this new 
way of viewing our world, in which our spiritual conception of the new 
forms are linked with the whole range of human activity. 

Thanks are due to the publishing house of the Educational Association of 
the German Printing Trade Union, which has already performed a service to 
the dissemination of contemporary typography by publishing the booklet 
elementare typographie and which far-sightedly and generously has also 
made possible the publication of this book. 


Munich, June 1928. JAN TSCHICHOLD 


GROWTH AND NATURE OF THE NEW TYPOGRAPHY 


THE NEW WORLD-VIEW 

The revolutionary technical discoveries of the late 19th and early 20th cen- 
turies have been only slowly followed by man’s ability to make use of his 
new opportunities and develop them into a new pattern of life. “Civilization” 
and the too-rapid penetration of all classes by these new technical discov- 
eries have led to complete cultural chaos, caused by the failure of the 
affected generation to draw the right conclusions for a new way of life from 
the new facts. 

The new generation facing this state of affairs is free of the prejudices 
against the New that obsessed the previous generation. The technical ad- 
vances in every tool and service used by man have been enthusiastically 
accepted by the younger generation and have brought about a completely 
new attitude to their surroundings. 

The objects in use by the new generation suffer from the fatal compromise 
between a supposedly “artistic” intention and the dictates of technical 
manufacture; from a feeble turning back to historical parallels; from the 
conflict between essence and appearance. Instead of recognizing and 
designing for the laws of machine production, the previous generation con- 
tented itself with trying anxiously to follow a tradition that was in any case 
only imaginary. Before them stand the works of today, untainted by the 
past, primary shapes which identify the aspect of our time: Car Aeroplane 
Telephone Wireless Factory Neon-advertising New York! These objects, 
designed without reference to the aesthetics of the past, have been cre- 
ated by a new kind of man: the engineer! 

The engineer shapes our age. Distinguishing marks of his work: economy, 
precision, use of pure constructional forms that correspond to the func- 
tions of the object. Nothing could be more characteristic of our age than 
these witnesses to the inventive genius of the engineer, whether one-off 
items such as: airfield, department store, underground railway; or mass- 
produced objects like: typewriter, electric light-bulb, motor cycle. They 
have created a new — our own — attitude to our surroundings. An immense 
enrichment of our lives comes from the new inventions which confront us at 
every step. The collective whole already largely determines the material 
existence of every individual. The individual's identical fundamental needs 
are met by standardized products: electric light-bulbs, gramophone 
records, Van Heusen collars, Zeiss bookcases, tinned milk, telephones, 
office furniture, typewriters, Gillette razors. The standardization and 
electro-mechanization of the things we use daily will be further increased. 
Economies in production and use of materials will lead to constant im- 
provements. But electro-mechanization as an end in itself is nonsense: its 


true purpose, by satisfying basic needs through mass-produced objects of 
highest quality, is to make possible for the first time a true and unlimited 
awakening of all the creative powers of man. 

In some fields, standardization, rationalization, and mechanization have 
made great progress, but in most others almost everything remains to be 
done. Where no tradition existed, and where therefore there was the least 
amount of restraint on design, record progress was made, e.g. in Rumpler- 
Tropfen cars, in giant aircraft, in typewriters. Further rationalization in the 
manufacture of the parts of these engineering products will allow even 
more energy to be harnessed that today is going to waste. But in most 
spheres of human activity, progress towards the shapes expressive of our 
time is slow indeed. Thus in the field of housing, the projects of Gropius 
and Le Corbusier have only very recently been recognized, achieving in an 
unpromising-looking area a high degree of standardization and series- 
production. The design and construction of homes for people who live the 
same sort of lives can be planned so as to meet the economic demands of 
our time for rationalization and standardization. 

Modern engineering and standardized machine manufacture have of neces- 
sity led to the use of precise geometric forms. The final and purest shape 
of a product is always built up from geometric forms. The new age has cre- 
ated an entirely new visual world, and has guided us to the primary ele- 
ments of human expression: geometric shape and pure exact form. Our 
sympathy for the shapes derived from geometry and science is part of our 
inborn striving for order, both in things and in events, which is redoubled 
when we are confronted by chaos. We, who require the utmost purity and 
truth in our surroundings, arrive everywhere at forms which do not, as pre- 
viously, deny the necessary elements of their construction, but openly 
reveal and affirm them. Such shapes must by necessity transcend individu- 
alism and nationalism in their appearance. The value of an object is not 
measured by its origin, but by its approach to perfection of form, the high- 
est and purest design. The creator disappears completely behind his work. 
People of today regard the arrogant thrusting forward of the man before his 
work as aesthetically embarrassing. Just as every human being is part of a 
greater whole, and is conscious of his connection with it, so his work 
should also be an expression of this general feeling of wholeness. An anal- 
ogy in the field of sport is the excitement shared by millions in a victory by 
Tunney over Dempsey. Every new record means, to the individual, a higher 
achievement in which all have participated; it shows how successfully the 
dashing new generation is replacing middle-aged stuffiness by movement 
and action. Contemplative introversion has given way to new realities, the 


thrills of active modern life. The theatre, an illusion of life, has lost its draw- 
ing power, for life itself has become a play: city street, neon signs, stadium! 
A few clear heads, the avant-garde of all nations, are leading the way here. 
Their achievements in painting and architecture have led to a new vision 
and a new activity in all other fields of human creativity. Their exemplars 
were the works of the engineers, expressing purity and clarity in their con- 
struction and appearance. “Beauty” is no longer, to us, an end in itself, an 
autocratic entity, but a result, an attribute of rightness and fitness in con- 
struction. Construction is the basis of all organic and organized form: the 
structure and form of a rose are no less logical than the construction of a 
racing car — both appeal to us for their ultimate economy and precision. 
Thus the striving for purity of form is the common denominator of all endeav- 
our that has set itself the aim of rebuilding our life and forms of expression. 
In every individual activity we recognize the single way, the goal: 

Unity of Life! 

So the arbitrary isolation of a part is no longer possible for us — every part 
belongs to and harmonizes with the whole. Where slackness is still the rule, 
we must make it our work to fight against laziness, envy, and narrow- 
mindedness. 

Typography too must now make itself part of all the other fields of creativ- 
ity. The purpose of this book is to show these connections and explain their 
consequences, to state clearly the principles of typography, and to demana 
the creation of a contemporary style. The connection between typography 
and all other fields of creativity, especially architecture, has been accepted 
in all progressive periods. Today we are witnessing the birth of a new and 
splendid architecture, which will set its stamp on our period. Anyone who 
has recognized the deep underlying similarity between typography and 
architecture and has understood the true nature of the new architecture 
can no longer doubt that the future will belong to the new typography and 
not the old. 

And it is impossible for both the old and the new typography to continue to 
exist together, as some think they can. The great period of design that is 
coming would not be one if the Renaissance style continued to exist beside 
the modern, in whatever field, whether of printing or architecture. The 
romanticism of the previous generation, however understandable, never 
hindered the birth of a new style. Just as it is absurd today to build villas 
like Rococo palaces or Gothic castles, so people tomorrow will smile at 
those who continue to practise the old typography. 

In the battle between the old and the new, it is not a question of creating 
a new style for its own sake. But new needs and new contents create new 


13 


forms which look utterly unlike the old. And it is just as impossible to argue 
away these new needs as it is to deny the need for a truly contemporary 
style of typography. 

That is why printers today have a duty to concern themselves with these ques- 
tions. Some have forged ahead with energy and creative success: for the rest, 
however, it seems that there is still almost 


EVERYTHING 


to do @ 


14 


THE OLD TYPOGRAPHY (1440-1914) 

The history of typography shows a steady progress from its invention down 
to about the middle of the last century, but after that it is disturbed by dis- 
organized movements and turned upside down by new technical inventions 
which decisively affected its course. 

The typography of the first period (1440-1850) is limited almost entirely to 
the book. The few broadsheets and newspapers that were produced were 
in book formats. The distinctive feature, especially since the beginning of 
the 16th century, was the typeface. The other parts of the book seem of 
secondary importance; they are decorative, inessential additions. The basic 
form of the book varied from time to time but did not change decisively. 
Gutenberg, who was concerned only to imitate the book of his day — which 
was handwritten — developed his types out of the contemporary book 
hand, the gothic minuscule. That type, reserved today for religious and 
other ceremonial matter, was at that time used for the writing or printing of 
all, even profane, texts. The inventor also used “textura,” the gothic minus- 
cule, for texts of more than day-to-day importance. Beside the gothic 
minuscule, there was also the gothic cursive (Known in France as 
“Batarde”) for day-to-day writing, notes, and records, which Schoeffer later 
took as a basis for the “Schwabacher” type which he was the first to use. 
Between the invention and the beginning of the 16th century these were 
the only two letterforms in use. For the purposes of this historical survey 
we may disregard the variations of gothic and Schwabacher, whose con- 
tours were similar to the types of Gutenberg and Schoeffer, as well as the 
forms of roman type before 1500. 

The form of the book as a whole corresponded almost entirely, at this time, 
with the design of the late gothic handwritten codex. Its wealth of painted, 
gold-heightened large initials and coloured smaller initials, rubrications, 
and margin decorations on opening pages was taken over by the printed 
book. Originally filled in by hand, these decorative additions were soon 
being cut on wood and printed with the text, and in expensive works after- 
wards hand-coloured. Text was generally in two columns. Title-pages were 
asymmetric but not arranged very logically. Centred layouts were hardly 
ever used and were confined to Italy. Harmony of text, initials, and titling 
was achieved by strong contrasts of colour, shape, and weight. In this 
respect gothic books can be compared with the typographical expression 
of our own day. 

Around 1500, the humanistic Renaissance, through the work of Aldus 
Manutius, its chief exponent, established a completely different visual 
ideal, the even silver-grey page, whether text, title-page, illustrations, or 


- Sa ee cite 2 OgmUII~ 


| ar afi i 
aff “Reagan iba ge 


' Lonamoranone 

Titi - toma dolore moms fad? 
een e 
; Dips 
E ih abina tena mobo pings 
(2. wi eeptitiut nefiinhs marendi tlt: 
= pum collars: qurcibus laos 
feudus- or Deo magi hens Redruns fer- 


Pi etimuaa pe 
st oc ea ieee Tye 
{ Quttiies winir, Hut legis qui 


Page from the facsimile edition of the Gutenberg Bible (Insel-Verlag) 


. tase omigorens, 


aeaenmetaaey vam /; 


quem ra fmpra funt. Zenpure cam 


ho thunte feet eedeftja que 
inti 


ya. Prana cobis + pix ab 
£0 qui ct 2 quit reat 2 Gun uEITuS f: 
tta ipinn tpivinbus Hin offaty ve 
mirivelunc: a thet mits § efi 
fils Pino gee MoMUOTY ja 
COPS LOU reveesgqua Bilegee nog et lauit 
ioe a pecatiea nis infanguine fro 4 
fecit 105 regia 3 fanrdoies Dro + pri 
Taocrpt gts ex inyprarmnsin feeula feew- 
tard amie. fore orrar sy mibibus : 


uiteber cu ortmis grulnes4 qui rd pu- 


pugeeunc, gr tiie pligent fr fp cam 
Dries tibus teresa arnt. fhe fur 
alpip 20: prinapw st finis-Dint do- 
TmINUs bite Huee aqui rat 7 q oe 
ffgo obimnrs fra: 
ret wrfter 32 stroabulacone re. 
ee rt panting in mBo ibeluciui tnt 
es bs paler pathinge propt or 
teftimmorut ties fFutin ini. 
aan in a Deaiuica bir audue me nr 
ROTM Magram tarp cube dirntis. 
{2ugd wites {eben Libro 2 mitre Ie. 
pra redefe ia ie et fume 3 anga- 
mb 3 thane 4 fardis ephiladiphir 
tr laobine. £t oiifiie hime utbtiem 
wort § loqurbatintdi gr hues 
midi pin candriabra auracs tme- 
pis irpinn Marlabros aunme finilé 
Alin frre ‘whch pobre: tnd 
ad mannilas zone antta . Zaput 
Silt cua te capil edt candid! tangy, 
lana albacz carp oy. §t nuh one 
ae flamina nynis3 pes n° fmt. 
ire suritalen firuc i ranting axtenti 
fr nor ilints taiuh wOX aquax saul- 
tatunics tabebar i Reena fia Bellas 
fepia. Et Oe.ore 07 glans wiram 
parts anu? spbarce faare cP ficur fl 


me Naat pris 


ornaments (Hypnerotomachia Poliphili). The type that now came into use 
was “Antiqua” (roman). (The earlier use of a gothicized roman in Rome, by 
Sweynheim and Pannartz, was part of the change of style which began ear- 
lier in Italy.) The new style originated in Italy about 1450, but did not 
spread to other countries until considerably !ater. 


A page of the 


Hypnerotomachia 

Poliphili. 

Aldus Manutius, Pee | sue 
Venice 1499. producelle,qualifonoquelti nd diuo fronte affixi sdiguette calico fp. 


neuro orafulgidi &amorofi, Et percio per canti itirgii obfefio eltriltoco_ 


BSalimiainfetto. 


“LA BELLISSIMA NY MPHA AD POLIPHILOPER- 
VENTA ,CVM VNA FACOLANELLA SINISTRA MA... 
NY GER.VLA,ET CVMLASOLVTA PRESOLO,LOIN 

“VITA CVM ESSA'ANDAR EET QVIVI POLIPHL: ~ 
LO INCOMINCIA PIVDA DOLCE AMORE 
 SDEELA BLEGANTE DAMIGEL 
LA CONCSLEFACTO, GLI -. apn hs 
+ SENTIMENT INFLAM rece 
reg SA ROSENBERG RT 8 


ZESPECTANDOPRAESENTIALMENTEEL 
realeStineelligibileobictto duna praflantifiama repre 
fentaionede rnewuentbfTin prefentiasediuo afpe- 


dicocohui che ad tare fini deff &imperio humile fuccumbendodallei fa 

ra per qualunchemedo poffeduto Kobtento ; Oaltiffimo foue,Eccolo 

ipreffo ieltigio della wiadiuina imagine clidto in Glanobilifimacreas__ 

cra, Onde fi Zeufis ef fola hauefichauutoad cStemplatione, laudaritt | 

mn fopraniticle A grigétine pudlle&dello orbiffimo mondo difima & 

abloluta pfetione,cozruameiite per fngulascexeplanie harcebe epee ees 
c 


cunifhme clecto.Laqialeformola & calicola Nympha horaad me 


Aldus Manutius was the first to recognize that printed books had a charac- 
ter of their own and were different from manuscripts. Aldus can therefore 
be seen as the beginner of the new typographic age in book design; 
Gutenberg by comparison was more the imitator of medieval manuscripts. 
In the Renaissance and the Baroque and Rococo periods deriving from it, 
the types corresponding to the two gothic faces (textura and Schwabacher) 
were the so-called Medieval-Antiqua (roman) and the cursive (italic) 
developed by Aldus from a cursive version of the roman. 

In Germany at the beginning of the 16th century, Vinzenz Rockner, the 
emperor Maximilian’s private secretary, developed from the textura face a 
German Renaissance type: fraktur. It is a partially successful attempt, in the 
context of the Renaissance, to give the clumsy gothic letters some of the 
fluency and elegance of the new form-world. Just as the latest German 
Gothic, by-passing the true Renaissance, led to Baroque, indeed almost 


German title-page, 
1741. 
Black and red. 


bone , flare and animvebiad tangs a 

gsi, ens mee ig eee toes «G 

gr, ‘an & Don BR 2 ee mee 
dictieneila enrolls, | 


" alle und iebe 2d ies gang Sais ae 


Pr P. DIONYS SIUM 


big, oer Rbeinifesen Beovingaptetnee, 
sik, thy a Beless iid aometbelt: 
Sad Be 4 Gortteetigen Hie elon aus Gebeleber Shee 


SOL Gar viterr Rebicrn gevetniqe’ , Hue sierlidierenr Selo, Bete | 
- > beffeet, auch mit huntere und drip actin Peaawder WSF 3 
ain tae Der gar. furberr ind ss taleeht befcheitcies. can ae 
; alg set ids amare als MEDAN ¢ 
ents 3 Ng prides: ay anaes Horde. 


P.MANTIN soe Goshen, 7 bet Sebelnitiben PE Mg i p Sar 
“ Wadhier Jobdariuninn’. Seitovemy 2s Seren 

cha ig Sereniffient Elessepis Ge Dusit Bavatiey HE. Leste ti “m ; 
| 3 Sih ute end Senbeibeity oe 
Beclegte Gregan ot a per ibis id wiebing: Sep am 


ae ve 78 . : iy? “path 
" 2 : wt estaek. ves 


eek nin -*% wa 


already is Baroque (Tilman Riemenschneider), so the types of the German 
Renaissance are really baroque. This can be seen in the curly ornamented 
movements of the main stems, the snouts of the capital letters, indeed in 
the handwriting of the time (which is still today the official German hand!) 
with its over-decoration of large initial letters. 

In the Baroque and Rococo periods following the Renaissance, fraktur 
changed very little; not until the end of the 18th century were attempts 
made to reform it. Fraktur was used almost only in Germany: other coun- 
tries either never used it, or gave it up after a short time. 

Books of the Renaissance, the Baroque, and the Rococo, set in fraktur, all 
look pretty much alike, and are differentiated from the books set in roman 
only by their type. The domination of centred setting sometimes gives 
German books a stronger, more “colourful” appearance because of the 
nature of fraktur type. Proportions and general style were the same in 
German and Latin-style books. Title-pages of books set in fraktur often 
looked garish and clumsy because of the use of too many type sizes and 
too many lines in red — but this also happened in books set in roman. Not 
until the end of the 18th century did a lighter look come into both kinds of 
book, with more leading, less complicated headings, smaller sizes of type, 
etc. 

Towards the end of the 18th century the punch-cutters Didot, Bodoni, 
Walbaum, and others completed the transformation of the Medieval- 
Antiqua into the so-called Franzdsische Antiqua. The success of Antiqua 
(roman) types on the Continent at this time was due not only to their clar- 
ity but to the influence of the French Rococo in the so-called culture- 
countries. Under its influence Peter the Great in Russia at the beginning of 
the 18th century caused the cyrillic types to be brought closer to the Latin 
forms. Leading German typecutters already saw the fraktur types as old- 
fashioned, medieval. The efforts of Unger (Unger-fraktur) and Breitkopf 
(the so-called Jean-Paul-fraktur) show how concerned the feeling then was 
to bring the external appearance of fraktur closer to roman. The character- 
istic quality of the Franzésische Antiqua types showed itself in their 
increasing departures from pen forms. If the older romans and their italics 
show clearly, in their details, their imitation of pen and occasionally chisel 
strokes, the types of Didot are the archetype of the engraved letter — no 
corresponding written or chiselled forms exist. The complicated individual 
movements of the Medieval-Antiqua are replaced by the simpler, more 
“regular” line of the Didot-Antiqua. The letters convey a much clearer 
effect, closer to their essential characters. The new “Empire” style, which 
brought in the Didot types with it, led to a certain typographical revival, a 


ep of DTG OT A 


te ee Fen Rey 


ee, she wf? Nae ue 03 39 
FL 9,45 > —s > 
a’ Sor a >. 
Tet arate Sey e a 2 RN 


=2es. ERE PPLE Teeth OF 


“MESSIEURS ET DAMES » 


OueR ete prrewe ae adtater~ Qkx ere annipetzarter. 


Ae 
“> 


A+! 
ie a 


que Je eclebeecons ; ‘ Novembre a Depur a 


Ut lpg 
eon TD 


2; 
ee 
“ta pe7 “ae VO. 2 a yet a” 


tt MO 


peered Reurer. ga a onze et. Qemte , ase ie Colise Dex 


mn RAR. fs as atime dechaudées, pour fe LR eposdese mer, » 
£ 
HO} oD ‘ANTOINE ALARD, | 
aes. PETRON? ILLE PACHET, 
A Jor Epous 
4- 1e ¢ 1 
oe: | REQUIESCANT IN PACE. 
| ea Les Pains fe distribueront chez 
Xs Caficlain , Place Sains Martin, 
LRP LR BARD BAEDLN DALES SABRES GASSE 0” ~s 
a oss, Ss We EB Sees eis 
ye? SP ES WN 38 ere ~ 
. eg 233 Gales is 


>> = ‘pepe tt Zo <= > > (¢ : 


Lei ‘Traprimeric dc Is Veuve P.S, LALAU, prs Thotel ne Vile 


Not a design by a “book-artist” of the 20th century—but the work of a simple compositor 
in the 18th century. Also, not an invitation to a garden party but a funeral! 


new flowering of typography usually known today in the history of typogra- 
phy as the “classical” period. 

Bodoni and Didot, like Aldus, developed their style of book design from 
their types and typographical material; but the greater clarity and typo- 
graphic quality of their types enabled them to reach still greater perfection 
in book typography than that achieved by Manutius. 

This last flowering of the typography of the Middle Ages was followed by a 
period of increasing decline which eventually, in the eighties and nineties of 
the last century, became quite unbearable. A certain organic development of 
classicistic typography can, it is true, be traced up to about 1850, at a dimin- 
ishing rate; from that time on, one untypographic conception follows another. 
It is often overlooked that one further typeface resulted from the develop- 
ment of the Franzosische Antiqua — the sanserif. Its origins can be found in 
the type specimens of the first half of the 19th century. Sanserif is a logical 
development from Didot. The letters are free of all extra accessories: their 
essential shapes appear for the first time pure and unadulterated. 


20 


The invention of lithography influenced the construction of typography: 
lithographers’ strongly decorated lettering and ornaments were copied by 
the punch-cutters; printers vied with each other in trying to copy the styles 
of lithography — a totally different process — by typographic means. The 
artificial linear mannerisms of the seventies, the boxes and borders of the 
eighties, and the horrible “artistic” printing of the nineties were the last 
stages of the decline. Hand in hand with this decline in the general appear- 
ance of printed matter went the decline in typefaces. The Franzodsische 
Antiqua and Medieval-Antiqua (popular in the seventies during a vogue for 
the Renaissance) became insipid, colourless, and formless. Our ordinary 
roman types in use today originated at this time. 

There were several reasons for this general decline. The fact that its origin 
coincides with the beginnings of the machine age points to its deeper 
causes. The inventions of lithography and photography, of photolithography 


pr fot ae 
- 5 « ~ {ssu L4etd, 
“5 Oo Ge oo sc GCC Oo OOOO OOO GG =o o o~... 
(Pe te 


5 es ber 
st . K Se. (Pajestat how D: uisches Tyatser ut yoy 

WILHELM IL. Pe 
tlt SAtierntenster Cetictistyung ih Uebster ‘Barture he yewidmet. \ 


220 Z Me, 
i ee Mm = NS, 
7 Sild und Wort 


DarpeMettt 


5 . a0 
SS 
a 

j 
/ 


99 O09 GG aageogogegeegeogeogegaegeseseegegss8s6s 


a2 ; : A oon 

Arde] gratte Genenightit AQ Xn me 

AN: | $ VAN ®. dacidiel §. ange 
Re ” “hr the rete € 


- 
Bieta toe 


A }, Leufiales & Tv 


Oecshiucdityaietians ber sah 


\. 
‘ip 
aN 


Example of “freie Richtung” (“artistic printing”) 
From the folder of the “International Graphic Design-Exchange 
of the German Printing Association” (1889) 


21 


and high-speed presses, all accelerated the decline. The tremendous 
power of these inventions gave contemporaries new opportunities whose 
possibilities were not grasped as quickly as they occurred, or perhaps were 


N aeons Mi TOESsrp Fete er 
te cae ee i Ve é a pero REEERS 3 = 

i ¥is $e Soh) Peas Cle + poe on yA. P re 2 E: .c 
rie JULIUS s KuINKHARDT rey. foe 


- 
ye, 


fa ” Vreege Vorehenetale o— 


Example of “freie Richtung” (“artistic printing”) 
From the folder of the “International Graphic Design-Exchange 
of the German Printing Association” (1889) 


not recognized at all. At the same time, new kinds of publications made 
possible by the new inventions, such as magazines and newspapers, 
emphasized the confusion in typographic design. When finally the process 
line-block was invented, and reproductive wood engraving, then at the 
highest point of its development, had to give way to it, confusion was com- 
plete. This state of affairs in printing was however only parallel with a gen- 
eral cultural collapse. 

Germany especially, emerging victorious from the Franco-Prussian war, was 
flooded with machine-made substitutes for craftsmanship, that suited 
megalomania which the victorious end of a war brought with it, and were 


22 


enthusiastically taken up — indeed, people were actually proud of this tin- 
niness. Like the profiteers of our own postwar period, people of that time 
had lost all sense of what was genuine; like us, they were blinded by the 
phoney glitter of those horrors. 

The whole era is characterized on the one hand by a slavishly and entirely 
superficial copying of every conceivable old style, and on the other by a ca- 
priciousness in design without precedent. A town hall, for example, might 
be built to look like a pseudo-Gothic palace (Munich) or a “Romanesque” 
villa. 

Similar conditions flourished in other countries, though not nearly to the 
same extent. Sickened by them towards the end of the eighties in England, 
William Morris took the wrong perspective of fighting against machines and 
machine-production. Morris visualized the ideal as replacing machine-work 
by a rebirth of handicraft and a return to earlier times. By his action he 
interrupted natural development, and became the father of the “Arts and 
Crafts” movement. He was also the first producer of an artist-designed 
type, Morris-gothic, well known even in Germany. In it he followed closely 
a gothic model. With his type he printed books in which everything was 
made by hand. With this he gave impetus to a movement whose last off- 
shoots, the German private presses, were for the most part killed only by 
inflation. As creator of the first artist-designed typeface Morris is the pro- 
totype of the “book-artist,” who first appeared in the history of book pro- 
duction at about the beginning of the present century, chiefly in Germany. 
There is no question that book design in the last decades of the 19th cen- 
tury had become feeble and insipid. The thoughtless copying of a style, for 
example the German Renaissance in Munich, did not provide an answer. 
For this reason, Morris's views were undoubtedly stimulating. It is chiefly 
thanks to him that “Jugendstil” (Art Nouveau) came into being. 

Jugendstil was the first movement to deliberately try to free itself from imi- 
tation of historic styles. The Arts and Crafts school style of the seventies 
and eighties had to be defeated; form must emerge purely from purpose, 
construction, material. The products of such logical creation were to fit 
harmoniously into the forms of modern life. The search for new forms finally 
extended from objects of everyday use to the interior as a whole, to archi- 
tecture, even to a world-view of life. The leaders of this movement were 
painters, e.g. van de Velde, Eckmann, Behrens, Obrist, and others in Ger- 
many, Hoffmann in Vienna, and others all over the rest of Europe. The 
movement as we know collapsed shortly after the turn of the century. A 
characteristic of the movement was that it tried to give the new feeling for 
life, as it was then believed to be, a sovereign expression. The heroic 


23 


efforts of these pioneers failed — although in many respects their ideas 
were right — because the true needs of the time could not yet be exactly 
grasped, and because of the mistaken borrowing of art forms from nature. 
The main aim was seen too simply as new forms, a new line (van de Velde: 
La ligne, c’est une force — a line is power), in other words, an aesthetic 
renewal, a change in outward shape, instead of the construction of objects 
in obedience to their purpose, their materials, and their methods of manu- 
facture. The ideas of these artists were too much in the future, were by and 
large imprecise, and because of lack of opportunities at that time could not 
be realized. After a few years the movement lost itself in a Jugendstil- 
influenced new Biedermeier, in other words another repetition of an earlier 
style. 

The school of Morris and Jugendstil had a beneficial effect on the quality of 
this latest imitation-style. Eckmann, an exceptionally able exponent of 
Jugendstil, who sadly died young, gave the printing trade his Eckmann-type, 
a kind of combination of fraktur and roman, whose line seems to have been 
influenced by brush lettering and plant forms. Soon after that, Behrens pro- 
duced his gothic type for Klingspor. The early Wieynck types — his bold 
poster-cursive, and Trianon — were typographic expressions of the new 
Biedermeier. The designing of a book as a whole followed the path of gen- 
eral development from the revolutionary shapes of Jugendstil to the mod- 
ernized Biedermeier style, and from these step by step by way of the work 
of such men as Rudolph Koch and Ehmcke to the complete acceptance of 
the classical style by such personalities as Tiemann and Weiss. The tight, 
squared-up style of typographic arrangement adopted by Jugendstil was 
replaced shortly before the war by a fashion for the so-called “free” style of 
setting, in tune with the general change towards a renewed preference for 
the classical style. Its most important representative was Carl Ernst 
Poeschel of Leipzig. Squared-up setting (“Kastensatz") as such was really a 
new idea, without historical precedent. But it was based too closely on pre- 
conceived ideas of form, which nearly always does violence to the contents. 
The “free” style of setting resulted from a new and extremely thorough study 
of the last classical period, the early 19th century. The classical types were 
rediscovered by Carl Ernst Poeschel.® The publisher Insel, with Otto Julius 


® Long before the war, Mendelsohn was wrong to say that Jacob Hegner was the father of this 
rediscovery. No one used older types so exclusively as Hegner, but he did not begin printing until 
after the war. The return to the classical faces such as Unger-fraktur, Walbaum-Antiqua. 
Breitkopf-fraktur, dates to around 1911. 


24 


Bierbaum, made an important contribution here. Instead of the poor and 
backward-looking types of the late 19th century, true historical forms were 
used. The type designers really studied these forms: after the “Sturm und 
Drang” (wild and violent) shapes of Jugendstil, types gradually became 
more and more moderate, until they finally reached their high point and cul- 
mination in the nearly totally classical forms of Tiemann-Antiqua, Ratio- 
Latein, Tiemann-gothic, Weiss-Antiqua. Squared-up setting continued in the 
specimens of the type-foundries, although in a less pronounced form, until 
the last years before the war. The increasing use of classical types forced 
the use of a classical form of setting, the so-called “free” style. Highly 
developed examples in this style can naturally only be distinguished from 
their models by unimportant details. It must be admitted that a high quality 
was achieved: a very cultivated taste indeed was needed to produce results 
which so closely rivalled their models. But the difference between these 
modern works and their classical models is that the models really are an 
expression of their time, whereas the imitations are the expression of a 
highly sensitive eclecticism, which is an attitude foreign to the present day, 
looking for its ideal in another time and world. In contrast to the imitators of 
Jugendstil, who though they may not have achieved any final success nev- 
ertheless tried to bring all expressions of life in their time into harmony, the 
Arts and Crafts book-artists, restricting themselves to the book, and possi- 
bly book-like journals, became rigid with eclecticism and thus lost all con- 
nection with the shapes and appearances of their own time. While the 
“Empire book” in all respects fitted its period, the “Arts and Crafts” book 
sought to make itself a pretentious exception. Scarcely any really contem- 
porary solutions of contemporary problems are known. A very well known 
dictionary, which appeared recently, looks like an encyclopedia of the 
Rococo. It must be freely admitted that the contents of most books regarded 
as of high quality at that time almost all consisted of literature from the past, 
providing themes which must have been inhibiting to contemporary book- 
designers (the pattern-book of Hans v. Weber, the Tempel classics). 
Nevertheless it is thanks to the work of the artist-book-designers that the 
taste for pure typography in books was reawakened, and that today most 
publishers avoid decoration inside their books. That however is not such an 
important achievement, since basic form (reine Sachform) is only a mid- 
point between decorated and designed form — a zero between minus and 
plus. This more or less decoration-free kind of book, in its outward appear- 
ance, owing to its use of historical or would-be historical types, harking 
back to the past, has since shortly before the war become the norm. 


25 


But as | pointed out above, books are no longer the only kind of printing. 
More and ever more important matter appears today in the form of maga- 
zines, newspapers, advertising, and so on. Here the above-mentioned 
artist-designers, because of their one-sided outlook, could not perform. A 
few of them did, indeed, try to introduce “reforms” in this field without suc- 
cess; and there are still a few artists of that generation who are seriously 
talking about the reintroduction of the woodblock into newspapers! (That 
this is a positively atavistic fallacy | need hardly say here. The book-artists 
of the pre-war period used to proclaim, and still do, that the halftone block 
(from photographs] does not harmonize with the clear black-and-white of 
type. Woodcuts, or at least line blocks, must take the place of halftones. In 
practice this is impossible, because neither woodcuts nor line blocks offer 


Title-page of an 18th-century 


type specimen. rar = ee rancie 
Brown type on printed tint. oe + Say ee 


3 


“seo 


wae we wees e- 


ww 
4 


F 


Hex! 


caeen pee ee ee 
dae EE ST ee al 


HANDPROBE 
VON 


SCHRIFTEN 


DER 


BUCHDRUCKEREI 
POESCHEL & TREPTE 
LEIPZIG 


PL PPOG EEE PDIEP LODE ODED LL EF BE POP PEP ELE POLDPE LOD DLE PPE PLP LE PLIDOEDLPLLL OL DELLE CPOE LG ELEPEE ODD EIP IS A 


CARL ERNST POESCHEL: 
Title-page of a type specimen. 
Black and orange. 


anything like the reproductive accuracy needed today and possessed by 
the halftone, nor can the medieval rate of production of the woodcut 
remotely compete with modern process block manufacture.) 

Apart from negligible exceptions, restricted to literary periodicals, the 
book-artists were unable to put their theories into practice in the important 
field of newspapers and magazines. In the great area of advertising they 
were shut out from the start. 

A whole book on its own would be needed to describe all the different 
characters and theories of the artists of the advertising world before and 
after the war. Their common fault was that they always made their own per- 
sonalities or their “handwriting” an effective factor in their work. A factual, 


27 


impersonal way of thinking was foreign to them. Exceptions, such as Lucian 
Bernhard’s posters, only prove the rule. 

These artists too, for example Lucian Bernhard, were not without influence 
on book design. Some of them have also designed new typefaces, based on 
recent American designs, which try to imitate random brush _ strokes 
(Bernhard-, Lo-, Glass- and similar types). 

These various and varied influences make up the picture of today’s typog- 
raphy. Type production has gone mad, with its senseless outpouring of new 
“types”; worse and worse variations of historical or idiosyncratic themes 
are constantly being drawn, cut, and cast. The two main directions of 
typography before the war, in “books” and “posters,” have now been joined 
by a third, the “Arts and Crafts” kind, which playfully covers printed matter 
with all kinds of pretty shapes in the belief that by doing so it achieves a 
“charming” effect. The closer one looks at these three main tendencies of 
typography, the more one is aware of hundreds of other lesser and lesser 
tendencies, all leading in different — and always wrong — directions. 

It is essential to realize today that the “forms” we need to express our mod- 
ern world can never be found in the work of a single personality and its 
“private” language. Such solutions are impossible because they are based 
on a false, purely superficial grasp of the nature of form. The domination of 
a culture by the private design-concepts of a few “prominent” individuals, 
in other words an artistic dictatorship, cannot be accepted. 

We can only acquire a true general culture (for a culture of the few, as has 
existed up till now, is no culture but a kind of barbarism) if we remember 
the natural law of general relationship, the indissoluble oneness of all men 
and peoples, and of all fields of human creativity. Only in degenerate times 
can “Personality” (opposed to the nameless masses) become the aim of 
human development. 

Printers in the recent past — a period of decadence caused by the final col- 
lapse of a culture — had to submit themselves in their work to the whims of 
a “book-artist’s” private style, if they wished to make any sense in the use 
of his types. As a result of this spiritual restraint, they could not achieve 
free creativity. To these men today we offer logical, “non-personal” work, 
using impersonal materials, which alone will make possible a free, imper- 
sonal creativity, a logical outcome of truly personal ability and a unified 
form of life, a “style.” Individualistic work, the “line” of the artist, is the 
exact opposite of what we are trying to achieve. Only anonymity in the ele- 
ments we use and the application of laws transcending self combined with 
the giving up of personal vanity (up till now falsely called “personality”) in 


28 


favour of pure design assures the emergence of a general, collective cul- 
ture which will encompass all expressions of life — including typography. 
Today the old and decadent, the young and vital, confront one another. The 
living man, if he does not side with the old and musty, can support only the 
new! 


29 


THE NEW ART 

In order to fully understand the new typography, it will help to study the 
most recent developments in painting and photography. For the laws gov- 
erning typographic design are the same as those discovered by modern 
painters as governing design in general. The following pages therefore 
attempt to give in broad outline an account of the recent developments in 
painting. 

In the Gothic period a change took place from frescoes or wall-paintings to 
movable easel-paintings. Painting at that time still had a social function, it 
was a form of worship and an expression of the religious philosophy of the 
times. The decline of religion during the Renaissance brought with it a 
change in the content of painting. The easel- or altar-painting of the Gothic 
period had remained basically the same in content as the frescoes: despite 
certain wealthy burgher-class tendencies it had remained essentially reli- 
gious. The feudal life of the Renaissance brought with it a freeing of art 
content from the dictates of the Church. Even though religious subjects 
were used, they became an expression of a new attitude to life, a mirror for 
the life of the ruling classes, the feudal lords. The “artist,” once a retainer 
of the Church, was elevated to a higher social sphere. During the 
Renaissance and the times which followed, he led the life of the great 
lords, and their ideology was reflected in his paintings. 

This was the situation of all painting and “art” until the French Revolution. 
The period which followed it, in which we are still living, was formed by the 
new class which rose to power, the middle class, and its ideology. At first, 


oe 
# 


MANET: In the 
greenhouse 

(Verlag der 
Photographischen 
Gesellschaft. 
Berlin-Charlottenburg 9) 


aS 
a4 


nk 


| 


30 


PAUL CEZANNE: Landscape 
(Verlag der Photograph. 
Gesellschaft, 
Berlin-Charlottenburg 9) 


middle-class art copied the art of the feudal classes (Classicism: Ingres). 
Only around 1830 did it attain a form of expression of its own (the 
Romantics: Runge, C. D. Friedrich). But whereas until then the subject of 
painting had been of purely ideological significance, now painting for its 
own sake became important, and the subject lost more and more of its 
importance. 

The invention of photography in about 1830 had much to do with this 
development. Its existence made possible the posing of a new problem. 
Previously, two main factors had influenced painting: the purely painterly 
one of arranging colours; and the subject, the motive, to which representa- 
tion was subsidiary. The representative, ideological, and narrative functions 
of painting were in the 19th century taken over by other areas of activity. 
The path now to be taken by painting meant a gradual liberation from sub- 
ject, a progress towards the pure use of colour. This way lay clear after 
photography had found the means to provide an exact mechanical repre- 
sentation of the material world. For the first time the purely painterly prob- 
lems could be recognized. 

A comparison between a picture by Otto Philipp Runge and a daguerreo- 
type shows that photography could take over from the point which painting 


31 


SEURAT: Girls posing 
(Verlag der Photograph. 
Gesellschaft. 

Berlin-Charlottenburg 9) 


ie 
~s 
= 
= 
oe 
Las 


PAUL SIGNAC: oo i aa Sea 
La Rochelle harbour ; 
(Verlag der Photograph. eee lo 
Gesellschaft, AAS toe Shy a ah ee ae 
Berlin-Charlottenburg 9). ee oe ae ee fa 


* 


eb hth aes 


ened 


rm Pee 


had then reached. The individual motives for the new attitudes of the pro- 
gressive painters had begun a new stage of development. 

The romantic painting of Runge and Caspar David Friedrich was replaced 
by the naturalism of Corot and Monet. A close study of nature followed the 
earlier generation's romantic transfiguration of subject. 

The next phase of development, “Plein-air-ism”® (Manet, Degas), tried to 


® plein air (French) = pure light. natural light 


32 


achieve new effects by the bright light illuminating its subjects. The dark, 
impure colours of the Middle Ages were replaced by pure, glowing colours. 
The object painted appeared “in a new light,” changed and transformed. 
The partly new intentions of painters at this time should not deceive us into 
thinking that the contents of painting had by then been radically altered, 
for such was not the case: nor did it happen with the Impressionists® 
(Cézanne), who gave to light an entirely new strength and power. Their 
chief preoccupation was with the changes in colour of an object in light 
and the open air. The object lost its literary significance almost entirely, it 
became an excuse for painterly creation. Colour became more and more 
important. 

Pointillism®°® (Seurat, Signac) went further: it broke up the object into sin- 
gle dots of colour, and captured the flickering effect of sunlight. The pho- 
tographic representation of an object, which more or less clearly distin- 
guishes the romantic painter and the painter of naturalism, is abandoned in 
favour of a purer colour effect. 

Perspective too — the apparent space behind the surface of a painting — 
disappears more and more. This could be noticed in the paintings of the 
Impressionists and the Pointillists, but became complete for the first time 
in the work of the Cubists. Here “background” and picture surface are 


® Impression (French) = impression 
®@ point (French) = point 


PABLO PICASSO: 

Still life 

with red wallpaper 
(Verlag der Photograph. SO oe pane 
Gesellschaft. : ——— ade i \ ict: suites 
Berlin-Charlottenburg 9) Leite ws ; eA 


GINO SEVERINI: Restless dancer 
(Verlag der Photographischen 
Gesellschaft, 

Berlin-Charlottenburg 9) 


identical: the “subject” even seems to stand out in front of the picture’s 
surface. At the same time the subject was so recklessly deformed and 
geometrized that the layman could hardly recognize it any more. The 
transformation applied equally to shape and colour. Cubism® (Gleizes, 
Léger, Picasso, Feininger) tried for the first time to create a truly visual 
harmony quite independent of the subject. What was also new in Cubism 
was the occasional introduction of tin, paper, wood, and other materials 
as components of painting, which were used just like paint as construc- 
tional elements in the design. 

As well as Cubism, which was predominantly French, Futurism®® in Italy and 
Expressionism in Germany appeared concurrently before the war. Futurism, 
in order to achieve a new content, tried to capture movement in painting. 
Different methods were employed: in some, the object was partially 
repeated several times (Balla), or by being broken up into individual parts, 
so that perspective was abolished and the illusion of several simultaneous 


® Cubus (Latin) = cube 
©® futur (French) = future 


34 


EET TE = LVOQNEL FEININGER: 
= Cer a ante eC “9 Po g Church 

a et Rs tk at a (Verlag der Photograph. 
Gesellschaft, 
Berlin-Charlottenburg 9) 


views was given (Severini). Expressionism® also tried to find a new content 
for art. It is difficult to reduce its various tendencies to a common general- 
ization. In contrast to the greater preoccupation with shape and form of 
French Cubism or Italian Futurism, Expressionism was more spiritually 
inclined. It attained a metaphysical transformation of the object, which inci- 
dentally was rarely taken from the world of fact. The outstanding exponents 
of Expressionism were the Germans Paul Klee and Franz Marc. 

The decision to break entirely with the subject was not taken by either the 


® expression = expression 


FRANZ a ve 
MARC: 
Two 

cats. 
Coloured 
drawing. 


35 


Expressionists or the Cubists, or the Futurists, but by the generation which 
followed on after the war. 

Though the war was an interruption to development, it liberated, at the 
same time, the forces of renewal. The general disillusion at first gave birth 
to Dadaism.® In Germany this took on a political and radical aspect (Grosz, 
Huelsenbeck, Heartfield); in Switzerland and in France it was more lyrical 
(Arp, Tzara). It was the prelude to the creation of abstract art. 

By its total denial of the past, Dadaism cleared the way for what was to 
come. This was achieved by fooling the greedy Philistines and their world, 
and destroying them morally; and the Philistines actually took the cynical 
fun of the Dadaists for art (which it was never intended to be) and were 
violently outraged. Dada’s uncompromising shapes had a far-reaching 
influence in almost all fields, particularly in advertising. 

The disillusionment which followed the war and whose expression Dadaism 
was, at least brought with it a clear awareness of the chaos then existing in 
all creative fields. The extravagant individualism of the pre-war years ended 
in total negation. In isolated fields came the realization that in all this con- 
fusion the only thing that really belonged to the present was the work of 
the engineers and the technicians, industrial architecture and machines. 
So a group of individual painters then attempted to take over from these 
things the true and mathematical logic of their construction, and make art 
subject to laws from elementary principles. 

Cubism had freed painting from literature and destroyed the subject. The 
movements which followed denied the subject completely and built a new 


® The name is arbitrarily derived from dada (French) = little wooden horse. 


FRANZ MARC: <a a 
Horses : 
(Verlag der Photograph. 
Gesellschaft, 
Berlin-Charlottenburg 9) 


36 


Water-colour. 


In the balance (Schweres Schweben). 


1924 (Neues Museum zu Wiesbaden) 


W. KANDINSKY 


37 


unity in art out of pure forms and colours and conditions governed by laws. 
The first to follow this path, starting before the war, were the Russians 
Kandinsky and Malevich. Kandinsky created abstract harmonies out of 
colours and forms — not the distortions of the Cubists, but with synthetic 
unities whose effect could be compared to that of music. By discarding 
physical objects he conquers para-physical space, like Malevich, who set 
his geometrical planes in space and created an ascetic crystal world 
(Suprematism).® The consistent work of this artist led the picture as a flat 
representation towards the zero-point, to endless white space. “In his long- 
ing for the material, man envelops himself in the flames of abstract idealism 
and destroys everything that is material in himself, in order to become pure 
for the reception of the new object. It was here that man closed with com- 
position and went over to construction” (Ulen). In 1919 Malevich turned 
from painting to architecture. 

The Russian El Lissitzky gathered the broken pieces of Suprematism 
together and extended their resources into stereometric structures. His 
vision, inspired by the beauty and the extraordinary possibilities of modern 
science, created a new art structure. He called it, as the existing names 
“painting” and “sculpture” could no longer be applied, by the new word 
“Proun” (pronounced pro-un). 


® supremum (Latin) = the highest, the utmost 


K. MALEVICH 


38 


- AEN NOES >t 


RN Sar 
Se 


roc 


EL LISSITZKY: Proun. 1919. 
(Hannover, Provinzial-Museum) 


Sees 


ee. ett eas F - nae nas ay nee emeyey 


~t 


{ 
; 


39 


The western counterpart of this art form is the Dutch “Neo-plasticism,”® 
represented by Theo van Doesburg and Mondrian. In contrast to the spa- 
tially dynamic creations of Suprematism, Mondrian avoids all illusion of 
space and restricts himself to the absolute plane. The tensions of his red, 
blue, and yellow areas of colour, always at right angles and always 
horizontal-vertical, express a solemn and spiritual monumentality. In his 
endeavour to avoid every illusion of space and in order to contain the nat- 
ural dynamic of the colours, Mondrian encloses them inside black lines. By 
this means the impossible becomes possible: red, blue, and yellow really do 


® Neoplastizismus = Neue Gestaltung 


wae AN 


PIET MONDRIAN: 
Rhombic picture 
(1926). 


40 


appear to be in the same plane. In Russia the first step was taken away 
from these still purely painterly conceptions towards Constructivism. This 
movement set itself to give form to the real world (it is wrong to call any 
kind of movement in painting Constructivism). The construction of a picture 
out of basic structural forms and relationships depending on laws soon led 
to the use, instead of the previous illusions created by colour and space, of 
real materials such as tin, wire, wool, wood, glass, etc. What the Cubists, 
especially Picasso and Braque, had been trying to do since 1913, to intro- 
duce into pictures materials previously considered foreign to them, was 
now carried to extremes. The start of this movement was characterized by 
the “Konterrelief” of Tatlin. It was still an artistic experiment, since reality 
was not yet created by the mere (unnecessary) use of real materials. But 
these experiments were at least the prelude to @ practical exposition of 
reality. The love of our new material world of machines and apparatus, our 
technical era, soon led the Constructivists along the right path: Tatlin built 
a model of his Tower of the Third International, a colossal spiral of glass 
and iron. The tower was in fact never built, and it was correctly said that its 
author was still in some ways working from a too freely artistic point of 
view, and function had been kept too much in the background. That did not 
however lessen the basic significance of this achievement. It stands at the 
beginning of a movement that is today having its first public successes. At 
almost the same time as in Russia, similar experiments were being made in 
Germany: above all at the Bauhaus in Weimar, founded by Walter Gropius in 
1919, which became the focus of all consciously contemporary design 
work. A Bauhaus was also started in Russia at this time (1918), the 
“Wchutemas” Institute (the abbreviation for the Russian expression for 
Higher State Workshops for Art) with the same aims, the coordination of all 
creative activities in building, where for the first time it would make sense. 
In both schools the real problems of our time were tackled. By approaching 
every problem creatively from the start, and developing its form honestly 
out of function, modern materials, and modern manufacturing methods, 
models were created for industrial production. 

From here on, the development of painting in the last hundred years has 
contained sense and content, it becomes coherent, no longer a loose chain 
of apparently conflicting “isms” but a decisive influence on the visual char- 
acteristics of our times. Important as is “absolute painting” (by which term 
we can summarize recent tendencies in abstract art) as a point of depar- 
ture for both design and architecture, that is by no means the end of its 
importance. 


41 


ief 


: Konterreli 


W. TATLIN 


\s 


ten a a ret he Fl te bin ee nt te te ea eed as Di Medes enact wel le baal beeen oe See ern ah tee a 


pe roan a a ete 


mane Soe 20: 


42 


After the painters themselves had declared war to the death on the “pic- 
ture on the wall” and sternly rejected it, we have today got a new attitude 
to this problem: we see it no longer as decoration but as a necessary and 
functional part of life. We don’t hang it on any available wall, but deliber- 
ately integrate it with the architecture of our living-rooms. We can no 
longer be satisfied with mere accurate representation, however perfect: for 
mankind must always search for something more, for a symbol of his spiri- 


tual view of life. 


EL LISSITZKY: 
Design for a 
speaker’s 

tribune 3 
(1920) » 


43 


That the most powerful contradictions exist between the worlds of today 
and yesterday is shown most clearly in the relationship between our art and 
that of the past. Our ways of expression are in complete contradiction to 
those of the previous generations: how could we see anything in common 
between our art and that of the epochs of individualism? Art has always 
been a subtle form of expression of new intellectual focuses. The art of our 
own time also, however strange it may seem to some, is an expression of 
ourselves, for it could only have happened in our own time. 

The value of the art of the past is not diminished by the art of today: it 
would be childish to assume a “qualitative” development of art, or to 
believe that only we had discovered “the” art. But every period that is dif- 
ferent from another — and which one is not? — creates a new form of 
expression peculiar to itself and only to itself. Art is the sum of all these 
individual utterances. It follows that one must adopt a different attitude 
towards the art of our time than towards that of earlier epochs. One does 
not, after all, look at Renaissance art from the same standpoint as 
Romanesque. The basic premiss of all modern art is that it can no longer be 
representational. Previously art without a subject (real or imaginary) was 
unthinkable. Today painting has cast off these chains: it strives to create a 


RODCHENKO: Composition with black circle 
(Verlag der Photographischen Gesellschaft. Berlin-Charlottenburg 9) 


LAJOS KASSAK: Relief in wood, paper, and tin 


new and elementary harmony from surface, colour, and form and their rela- 
tionships which are subject to certain laws. The domination of subject, 
which was the distinguishing mark of naturalism, has been replaced in 
modern painting by the domination of form and intellect (Hildebrandt). In 
the art of today, therefore, one will not see a (possibly distorted) version of 
nature but a genuinely new creation, not dependent on nature but an addi- 
tion to it, being another kind of nature with its own laws. More than all pre- 
vious art, the art of today demands creative will and strength. Its aim is 
utmost clarity and purity. It makes use of exact geometric forms and so 
achieves an aesthetic paraphrase of our technical-industrial times. Just as 
exact geometric forms hardly ever appear in nature, so the colours of the 
new painting are not derived from nature either, as they largely were in 
earlier painting. The new painting has been developed from its own 


45 


46 


WALTER 
DEXEL: 
Glass 
picture 
(Glasbild) 
1925-IV 


autonomous laws, which are independent of nature. Is it then surprising 
that its representations at first baffle the unsophisticated viewer, who is 
used to something completely different, or even actually repel him? Lazy 
and hostile people are still trying to make it appear contemptible in the 
eyes of others, and describe it as nonsense. These are the same people 
from whose physical attacks Manet's “Olympia” had to be protected by the 
police, a picture that is today one of the most precious treasures of the 
Louvre. Their prattling is too empty and unimportant to be taken seriously. 
We have recognized today that art does not consist in superficially copying 
nature, but in the creation of form that takes its laws not from the external 
appearance of nature but from its internal structure. Nature, the engineer, 
builds her structures with the same economy, technical care, and sureness 
of deduction as we of today do in our paintings. In our new art we have 
ended the conflict between “being” and “seeming,” for both are identical. 
The new painting shows clearly what it is: an unrepresentational, pure, 
painterly harmony. 

It appeals above all to the eyes, and rejects the feeble substitutes of emo- 
tional appeal through tragedy or joy. These are reserved for the private life 
of the individual: they are a barrier between him and the picture as a cult 
form. Here modern painting shows that it has developed out of the collec- 
tive spirit of the time. 

It follows from the total preoccupation of the painters of today with their 
own times that in the creation of their pictures they prefer to make use of 
new techniques, such as spraying and enamelling. They are often con- 
cerned with making a model picture, i.e. a picture that, according to its 
technique and form, can be mass-produced. This is another proof of the 
collective attitude to life, which in this case prefers to do away with the lim- 
itation of the single, unique picture. Colour and surface are often no longer 
enough: various new materials are needed to create form, such as wood, 
metal, paper, and so on. 

It was the American Man Ray who gave us the photogram, in technique and 
form an entirely new art. 

He tried, in the field of photography, the technique that is truly of “today,” 
to create an original art-form that would be independent of nature and gov- 
erned by its own laws. His photograms, made without camera, and appear- 
ing as if by magic on paper that is merely sensitive to light, are as remote 
from nature as they are in their own way true and exist in their own right. 
They are the perfect poetry in form of modern man. 

That photography offers still other possibilities for art and design is shown 
by the construction of Co-op, illustrated on this page. And free (i.e. not 


47 


applied to purpose) photomontage, photodrawing, and photo-sculpture 
also belong to the techniques of modern design. 

The work begun by Man Ray was brought to completion in pure film, in 
which the principles of the new art were applied to film-making. Viking 
Eggeling, Hans Richter, Graf Beaumont, Fernand Léger, Picabia, and Man 
Ray himself were the pioneers in this field. 


MAN RAY: Photogram. From the folder “Champs délicieux.” 


48 


ys 
Ee. 
2 
< 
es 
es 
oe 
Bz 
ie 
Bk 
+ 
$ 


al 


MAN RAY: Photogram. From the folder “Champs délicieux.” 


A new kind of art has appeared recently called “Verismus,” claiming to be 
the art of our times. It combines objective representation with the attempt 
to make a tectonic construction. The phrase “Neue Sachlichkeit” by which 
it is generally described is unfortunately a rather unhappy choice. Clearly 


“Reality” has been confused with “Objectivity” or “Realism”; “Sachlichkeit” 


49 


Ing, 


t 


pain 


absolute” 


In 


f colour and form 


not merely the painting of “Sachen” (real objects). Moreover the paintings 


ion o 
of the “New Reality” are often so petty and 


the pure creati 


ing Is 


t 


in pain 


icant that we can hardly 


insigni 


ion of modern man 


them as the express 


recognize 


ically 


f the human 


Il too often bas 


is a 


which 
kind of representat 


ty, 


is “New Real 


Not to be compared to th 


ion O 


is a new 


in new guise, 


only the old 


L/SZ6L UONJINAYSUOD 


030Ud -dO-OD 


WILL! BAUMEISTER: Drawing 
From the book Wi/li Baumeister, Akademischer Verlag. Dr. Fritz Wedekind & Co., Stuttgart. 


form, and also of inanimate objects, being attempted by Willi Baumeister 
and Fernand Léger, showing the way to a new development of the “pure” 
picture without a loss of its essential character. 

The reproductions in this book can unfortunately give only a faint idea of 
the beauty of modern pictures, which depend so much on colour. Even 
reproductions in colour are far inferior to the originals. 

We can only express the hope here that people will familiarize themselves 
with modern art by visiting art exhibitions and really experiencing the phe- 
nomenon of the New Art. 


51 


THE HISTORY OF THE NEW TYPOGRAPHY 

After the jumble of styles of the eighties, which affected typography as 
devastatingly as everything else, and after the reaction of the “Freien 
Richtung” movement which followed it, the Jugendstil movement at the end 
of the 19th century was an attempt to give expression to a new philosophy 
of life. It tried to discard historicism by going back to the forms of nature 
and creating a contemporary style out of function, construction, material, 
and methods of manufacture. 

In the field of books the most notable work in search of a new style was 
that of Peter Behrens. Despite their basically correct theories, however, the 
artists of the Jugendstil did not succeed in creating a truly meaningful 
style. They placed too great an emphasis on form as a concept in its own 
right, and failed to recognize its dependence on the factors which really 
control design, such as demand, purpose, raw materials, and manufacturing 
methods. Jugendstil did succeed in finding a truly new and original style of 
decoration to replace historical styles; but a really new attitude towards 
form, despite countless good starts, was not discovered. Nevertheless, 
Jugendstil made a great contribution in decisively preparing the way for the 
new, which after years of reaction would again be recognized. 

lt must now be observed that in some of the books designed by Peter 
Behrens he used sanserif as a text face. The Jugendstil movement in 
Holland, which leads in an unbroken line to Oud, Mondrian, and Doesburg 
of today, also used sanserif right from the start as their only typeface — at 
first, sometimes in a very distorted form. In both cases these designers 
came to sanserif because they were looking for the simplest form of type- 
face — the “prototype.” It was preferred by the Constructivist members of 
the Jugendstil, while Otto Eckmann, the leading painter in the movement, 
made a strange but very interesting attempt to combine the forms of frak- 
tur and Antiqua (roman), drawing the shapes of the letters with a brush. 
Eckmann very greatly influenced book design at that period, but we cannot 
regard him, as we can Behrens, as the true forerunner of the modern move- 
ment in typography. As Jugendstil petered out, since it was unable to real- 
ize its vague aims owing to a lack of appropriate tasks, there followed a 
time in book design of revival of historical styles (initiated by Wieynck’'s 
Trianon), although perhaps on a higher plane than before. Its greatest, but 
final, triumphs were at the Bugra Exhibition of 1914 and the Leipzig Inter- 
national Book Exhibition of 1927. 

A solitary gleam of hope came at this time from the Vienna Workshop 
(founded in the Jugendstil period), which never gave up a search for a con- 
temporary style. | have in my possession a very interesting little booklet 


52 


from this Workshop, dated 1905, which | set beside the books of Behrens 
and the Jugendstil typography of Holland as forerunners of our modern 
typography. It is a small publicity booklet of black card, in the format of a 
cigarette packet, with a white shield bearing the firm's well-known symbol. 
Inside, we find, as type, the capitals of the “constructive” so-called Elzevir; 
a simple border; a double row of quite small black squares; reversed initials 
on solid, undecorated black squares. In addition there are photographic 
halftones the width of the type area, made from splendid photographs. 
Although, as we can see, typography is here still being used in an orna- 
mental way, we can give this booklet great credit for its deliberate avoid- 
ance of “period” typography, and its use of simple geometric shapes, pho- 
tography, and strong contrasts of black and white. 

For the same reason | would like to mention the much later type designs 
and typography of C. O. Czeschka, who also came from the Vienna Work- 
shop. The type named after him, which appeared in about 1912, is the only 
attempt, among all the artist-designed decorative typefaces of the pre-and 
postwar periods, to produce a design not from a historical prototype but 
from the imagination. It is a sanserif, whose rounded terminals appear to 
form small spirals. The accompanying ornaments, like the types themselves, 
in their geometric accuracy anticipate our own ways of thinking. Czeschka 
made no use of photography. 

It is to a “non-technician,” the Italian poet F. T. Marinetti, the founder of 
Futurism, that the credit must be given for providing the curtain-raiser for 
the change-over from ornamental to functional typography. 

In his book of poems Les mots en /liberté futuristes, Milan 1919, he pub- 
lished the following manifesto: 


TYPOGRAPHIC REVOLUTION 

AND FREE-EXPRESSION ORTHOGRAPHY 

Typographic Revolution 

| am starting a typographic revolution, directed above all against the 
idiotic, sick-making conception of the old-fashioned® Poetry Book, 
with its hand-made paper, its sixteenth-century style, decorated with 
galleons, Minervas, Apollos, great initials, flourishes, and mythologi- 
cal vegetables, with clasps, mottoes, and Roman numerals. The book 
must be the futuristic expression of our futuristic thought. Better: my 
revolution is against among other things the so-called typographic 
harmony of the page, which is in complete opposition to the flow of 


® = earlier (opposite of futuristic) 


53 


style which the page allows. We will, if need be, use 3 or 4 different 
colours and 20 different typefaces on the same page. For example: 
Italic for a series of similar and swift sensations, Bold for the imita- 
tion of heavy tones, and so on. A new conception of the typo- 
graphic/painterly page. 

Free-Expression Orthography (Orthographe libre expressive) 
The historical necessity of Free-Expression Orthography shows itself 
in the continuous revolutions which have gradually freed the human 
race from their chains and restrictions. 


. In actual fact the poets used to pour forth their drunken lyricism in a 


series of rhythmic gasps, with tones and echoes, chimes and rhymes, 
at pre-planned intervals (traditional prosody). Then they changed 
with some freedom the breathing-spaces that the lungs of their pre- 
decessors had established. 


. The poets later persuaded themselves that the varied moments of 


their drunken lyricism had to express these peculiar rhythms, of un- 
expected and completely various lengths, with an absolute freedom 
of accentuation. So they quite naturally invented free verse (vers 
libre), but they still kept syntactical® order, so that their lyrical intox- 
ication could pour over their hearers by the logical channels of that 
conventional period. 


. Today we do not want the lyrical enchantment of words to coincide 


with syntactical order, before it has been created by our own discov- 
eries. So we have Words in Freedom (Mots en liberté). In addition, 
our lyrical power must be free to re-form words by abbreviation or 
lengthening, to strengthen their middle or endings, while the number 
of their vowels or consonants can be increased or reduced. That is 
how we will keep the new orthography, which | call Free-Expression 
Orthography (Orthographe expressive libre). This instinctive remodel- 
ling of words expresses our natural love of onomatopoeia. It matters 
little if the transformed word is ambiguous. It coalesces better with 
Oonomatopoeic®® comparisons or sounds, and allows us to reach 
quickly onomatopoeic-psychic accord, the deep but abstract expres- 
sion of a discovery or a pure idea. 


The illustration on p. 55 shows a poem from the above-mentioned book. 
The types have not been chosen for formal-aesthetic, decorative reasons; 


® Syntax = laws of sentence-making 
©® Onomatopoeia = painting in sound, imitating sound 


54 


ss 


Lettre d’une jolie femme 
a un monsieur passéiste 


BEREEER Ge eseedeeedeedadaraaeeeaaeaasaseeede 
+ baisers + — X + + caresses +  fraicheur 


beauté élégance _ 3000 frs. par mois 
oe eee Se te Oe ae + hbague rubis 8000 
vanitéeeeeeeeeeece + 6000 frs. chaus- 


sures Demain chez 
R toi Je suis serieuse 
uuu dévouée Tendresses 


F. T. MARINETTI: Poem from Les mots en liberté futuristes (Milan 1919) 


their carefully thought-out optical impact expresses the content of the 
poem. The types generate a hitherto unknown visual strength. For the first 
time typography here becomes a functional expression of its content. For 
the first time also an attempt was made in this book to create “visible- 
poetry,” instead of the old “audible-poetry,” to which in any case nobody 
had listened for a long time. It contained all the audacity of Futurism, which 
at that time had had an effect like a bomb; but even this effort, the first sig- 
nal of the new art that was to come, long remained the only one. 

The war caused these movements of aggression, the revolution proclaimed 
by Futurism in its manifestos, to have a far stronger effect, in fact stronger 
than Futurism itself really wanted. It also brought to an end the old scheme 
of things and helped to free us a little from the “canker of Professors, 
Archaeologists, Know-alls, and Antiquarians” on whom the Futurists had 
declared war. 

The young generation to whom the war had given importance, and who 
were disgusted with the rotten individualistic culture of the pre-war period, 
threw themselves into the Dada movement as being expressive of their own 
ideas. The tendency of this movement, deriving from a few anti-war intel- 
lectuals who had fled to Switzerland, was negative. Its leaders in Germany 
published in June 1917 a prospectus Neuve Jugend (New Youth), which is 
one of the earliest and most significant documents of the New Typography. 
We find in it already its most typical characteristics: freedom from tradi- 
tional styles of composition, strong contrasts in type sizes, design, and 
colour, type set at all sorts of angles, all kinds of type, and the use of pho- 
tography. Overheated impotence against the capitalistic war found literary 
expression in political articles: “Men must be made of india rubber,” “Pray 
with head to the wall,” “Work work work work: Triumph of Christian 
Science,” and so on. The external form of the paper reflects the chaos of 
the period. In France, where some of the Swiss Dadaists were hiding, Dada 
took on a more lyrical character. It made propaganda for “L’Art abstrait,” 
Abstract Art; it had no political aims. In typography it broke completely 
with tradition and made uninhibited use of every kind of typographical 
material which, like the example shown on p. 57, sometimes made a “cha- 
rade of dynamic values” (Kurtz). This interesting work can only be appreci- 
ated in a purely painterly sense: most genuine printers, unaware of its 
strong painterly qualities, which of course are utterly untypographic, can 
only view it with incomprehension. 

In the period after the war the creators of abstract painting and construc- 
tivism worked out the rules for a contemporary style of typography in prac- 
tical work. The same aim that had led to “absolute” painting — design com- 


56 


TH tre oe MICHEL 


mathuriN 


"enn 4 
neg, | awe 
S © 
Ju Let 


R.. 


/ 
ena 


la grande semaine 
a été prolongée t 
jusqu'au 7 juille& 


JR 


Bernheim Jeune, 25, Bd de la Madeleine 
S re ? Durand, 4, Place de la Madeleine 
' Povolo 13, Rue Bonaparte 
O r G A N I € Au sonar Seer 37, Avenue Kidber 
PP) Une place de loge........ 30 fr. Six, 5, Avonue Lovendal 
r Fauteuil d’orchestre..... 25 fr. Paul Guillaume, 59, Rue la Boatie 
1 Fauteuil de balcon Librairie Mornay, 37, Bd Montparnasse 
i‘? rang..... 15 fr, Paul Rosenberg, 21, Rue la Bodtio 
x Fauteuil de balcon........ 12 tr et au Thédtre Michel, Tél. : Gut. 63-30. 


TRISTAN TZARA: Invitation to a Dadaist evening 


57 


ing from basic form and proportion — when applied to our field produced 
the new typography. In Germany it was principally Willi Baumeister, Walter 
Dexel, Johannes Molzahn, Kurt Schwitters, and a few others who by 1922 
had made the New Typography a reality. 

Among the important publications of this time | must mention the Dada- 
publications of George Grosz, Heartfield, Huelsenbeck, and the periodical 
Merz, published by Kurt Schwitters in Hannover, which in its 11th number 
contained “Theses on Typography.” The book Staatliches Bauhaus 1919 bis 
1923 (The Bauhaus 1919 to 1923) contained an article on “The New 
Typography” by L. Moholy-Nagy, who had in the meantime joined the 
Bauhaus and who in the following years contributed a great deal to the 
clarification of typographic questions. 

The A. Z., Anzeigen-Zeitschrift zur pflege wirkungsvoller Insertionsreklame, 
Reutlingen in its issue no. 2/3, November-December 1925, published an 
article on the new typography by Willi Baumeister.® 

Walter Dexel expressed his views in detail in the Frankfurter Zeitung on 5 
February 1927, in an article “What is the new Typography?” 

In Holland, Theo van Doesburg’s periodical De Stij/ had already by 1916 
published articles on typography and was itself designed in a style com- 
pletely free of ornament. The postcard illustrated on p. 59 shows clearly the 
aims of its designer: to produce a pure typographic style using only type, 
space, and colour. The periodical Mecano, published by Doesburg in 1921, 
was also an example of the New Typography. 

Among Russian artists the first name to mention is El Lissitzky, whose work 
in our field was pre-eminent. With the poet Erenburg in 1922 in Berlin, he 
published the three-language periodical Gegenstand, whose influence was 
very strong in Russia. Our illustration shows two characteristic pages from 
it. Another important work of his was Mayakowsky’s book of poems Dija 
Go/ossa (For reading aloud), also published in 1923 in Berlin. It was meant 
to be a book for reading aloud, if the spirit moved one. The little book had 
a finger-index on its fore-edge, like an index file, showing the titles of the 
poems. If one wanted to read a poem, one put a finger at the right place in 
the index and immediately found the poem without having to consult a list 
of contents (which of course was not included, since it was contained in 
the index). Each poem is preceded by a title-page containing a typographic 


® Mention must also be made of an experiment by the painter Johannes Itten, who in a magazine 
Utopia (Weimar, 1922) produced “Symbolist” typography. He attempted by means of choice of 
type and arrangement to make the type illustrate the text and give visual expression to its feel- 
ing. Admittedly this has nothing to do with the aims of the new typography. but it remains, 
because of its contemporary significance, a valuable document of the birth of our times. 


BRIEFKAART 
POS TKARTE 
CARTE POSTALE 


PARIJS 
WEIMAR 


REDACTEUR THEO VAN DOESBURG 


-ANTWERPEN - 
MIiILAAN 


LEIDEN 
ROME 


THEO VAN DOESBURG: Postcard. Black and red on white. 


paraphrase of the poem's content. Printers also are inclined, without justi- 
fication, to reject this sort of thing out of hand. But it should not be for- 
gotten that we are dealing here with a book of poems, whose nature makes 
this kind of treatment completely suitable. It must be understood that only 
its general imaginative direction, not its detailed physical form, should be 
considered a prototype. 

In an issue of the magazine Merz, El Lissitzky published some remarks on 
typography which can be quoted here: 


TOPOGRAPHY OF TYPOGRAPHY 

1. On the printed page words are seen, not heard. 

2. Ideas are communicated through conventional words, the concept is 
designed by means of letters. 

3. Economy of expression — visual not phonetic. 

4. The spatial arrangement of the book, by means of the type matter and 
according to the mechanical rules of printing, must express the 
strains and stresses of the contents. 

5. The spatial arrangement of the book by means of process blocks, 
which embody our new visual concepts. The supernaturalistic reality 
of the perfected eye. 

6. The continuity of page-sequence — the bioscopic book. 

7. The new book demands the new writer. Ink-pots and goose-quills are 
dead. 

8. The printed page transcends space and time. The printed page, the 
infinity of the book, must be transcended. THE ELECTRO-LIBRARY. 

Parallel developments occurred in some other European countries, espe- 
cially in Czechoslovakia, Hungary, Russia, Poland, and most recently in 
France. Today, artists in all these countries are producing new work in our 
field: 

In BELGIUM: P. L. Flouquet, J. Peeters; 

In DENMARK: Torben Hansen, Harald Landt Momberg, and others; 

In GERMANY: Willi Baumeister, Herbert Bayer, Max Burchartz, Gert Caden, 
Walter Dexel, Cesare Domela, Werner Graff, John Heartfield, Leistikow, 
Hannes Meyer, Robert Michel, L. Moholy-Nagy, Johannes Molzahn, Peter 
Rohl, Oskar Schlemmer, Joost Schmidt, Kurt Schwitters, Franz W. Seiwert, 
Jan Tschichold, Vordemberge-Gildewart, and others; 

In FRANCE: Le Corbusier-Saugnier, M. Seuphor, and others; 

In HOLLAND: S. v. Ravesteyn, Schuitema, H. N. Werkman, Piet Zwart, and 
others; 

In POLAND: M. Szczuka and others; 


Der news Notebtrre, wternstionslr J sour ae mows romtestons pas de BEUWb~ 
St wt me Produit peasrrnes fonrrelogone de collectmtt sow | |, cera ee 
te de 0 de - 
setae Die Sees Er, | ent ar enone ot Serer Se | Tiere RVOAOT esses SIE 
it jer des . ade - Mprear seued tye or ecrar 

res tmewe 

nGEGENBTANDEB™ | oveene, Kes tHerser dastow cee | Corse aprons «, s6rcepreseonod 
One Bawlgder, wre ww ev hevte Eley de enter da lo sente Que Poctan onapecael spemacemeh 


ee oe Cont . 
Ge lees tcaee oa) Wie uenden Sigg tM [ee eentretenn wees: | GEXAAPHBOBATH HONORED 
TE 


tlle Arbevt trader ond Wu piondes B deetes 
Reine Sebte, wir begaigen war noch! Cela. ‘eine Phbaodrtonvarl AEAAR 
mit Swrrogaten fie das Kollahtie @ Btrevaller, wau d'admwer, Veternel BeujM! 

rechvedenen Rich ae pod 


sega Paar saremsecetes! nase comsommateus, av wa ee 
- an  ateeben dane treweers ~ 
be Arbeit et, die wiih arbre .L'OBJET" 2a: = MEK DYHAPOAHbIN KOHIPECC hae = 
ta weerable i= 8 mage eeeye f finpene serreerre Mensyeryeseed searpen nme, Lens prmpeayeyes eyarrwemen wayree aawecuenrnee 
aa! seers i] = Veda pie mmpetecrs gapreves = seqgery eapecreeet spus’ DB comcnrs Sunapee Sapaeme © eeymmuerrenerend sane perrped, 
$ e feuay Leoowns, Patone Aime trneeeen. Sheen’ iors. tterecey | Mewenee’ yal ceweasnel eymrypa7. eocsteeud cuse- 
’ sondern 6 LOBJET ol = J Craton rome Boge”. Aanss Ovenpes, pramerep Lagat Mewoume” re Stseeed ceeprerd evespet mmepes + id ——— 
fe eaween, jenen, die nut Lonsemeers 40 wn ergane dallowes, e masse 5 co Soros } adaard ere me Siesee:(eeherens Merete Rarer Framqame” — Bee engreee pene © nan, sewers ———e epee 
aber aichts echallen wotien, wud dev Ede lp techacgue, le pri-cowrant des 3 5 s nou om ee ee eigen ee es mace panerenmenencoes Aswe ‘an attend 
»QGEGENSTAND" roves nowerilen, et Venqunee de | 5} _ ae corre o> pebpes cowcpeend samveyra recess repeesiesed obge D awpeceerroeenee cptee pjowed ty Pewple” eoorermas 
thoes encore nom rhaluces uv i=- — crevewnd ¢ cpremeed pase yen want Oe50eset ant co nebows waaeeeh — rremt gageerne P Areren penenenmgers I) prmerrereeet penpe 
Neda end darting Dane Vatmucphive etovilante, dane | = 3 LP cereand - ayers teopiacers an reeryt Spmewen new erreme  "Paartes Sauerememes peessenpemmnpes % =tGe: preAmQmrTeS 
* pr ss ord od rial lo Roane to rae: VEstcoe repeet PEL ala 5 ere Por Te tment cera pm rene dae 
sopnlecbes y Oretaiis oe somnelente. ve wd en vtleve |O] | CVO & Cage ed reas Ogre mentee comepency ¢ repens Deppmens (One bane Opngrees SeTenn ae 
Sager Lew genes I VITE CESSEZ OF DECLARER | 5] 4 Sam a i pee ence ee ee ete rater 
»GEGENSTAND” ET DE CONTREDIRE, FAITES r) 5 a. atom = coreenanges sarvrprres © earn pee ee 
fat in sochiiches Organ, a Bote der OEB OBJETS. [— . P35 
Techn, em P erterchain bir mewe = 3 os yv a AP “ escmmes ponat Wie inoss on . pois ers 
it ie cremgee 1 Lagae oe mower) emryrrrees § Forme memeent Ove: 
genet ; - od or 
mech! seagelabrt alilede r ee ee are Same, eorwerommens aorreree a See ms ler tater — 
ea dat Rac - ~ wre © Berge” he epeeeereepes opp ane Comet amas, 1 Genes semrer, ore 
webgebluterenRult wa =Yane” = spree ryan pyrreee syammmenen, amen ¢ fagees ge cereped samme oe ee sersertey erent Oremss memes — Tov semmn, 
penn. © hyrmcees oe et beet Maer ~ wre Cameeremenes governs Larwenet Arr 
fest dee Kewl { rats Aacrrmcengoee” preveed seorpages papacy Tagumeniies pared pe Toe) Voor oort tae ae tne me ponere ve 
id hed by a — 
LASST rary neice Alas se qunseed Let reanse Rileae meiaves'y geopms sasnheet yen Sok aque anseers® aavpercem, opr knee oF ete 
Se RUricouAREE TS SD 
GEN! AUF! SCHAFFT n ” euimueuha 
achmo P ee eee mnoned conve 
»GEGENSTANDE" 6 Pomany HnoGcomy _* = II LT 
Aaceret Pome’ —— oe ene 
. Aa, ee aenmee ere sateen, ante enmeey 400 comes enpameed, 
‘ ase mee emepe a =f 
HU ‘PO3A (any tote of town 0 opps eyo mtemern orem my Some ntecmre 
ean basi H mee errreant ce oneme 
Cane tee tees eee ee 
HW MALUKHA bs tunel eqesinns Gx6 5 he meme mp ont Cement cme Se a 
ee ee ee ee ee 


ne ABNP*OICA TeMOM 


NogosHnH Soyer ment Tapes eee ee we = 9 mee 
. ovte Kacey Vio Sate ie ot ee SS ea 
“nn Lora cane re sie 
HiMBONKCH ce ere Hames mee puna, © manga qxemmn cayene ctpaterunere 
On ywat mactepa See eS eer 
CTPYKTYPE aici” sees ee ee Seats Aetmey Bent 
4 AnNONnNON B Gsumafiomx nomepax »~BEWH" 6yayr xancvarase CTATbH: 
CO3SKDAHHIO eHrore xyaomecrsennoA coamtuxe copercxo@ saacrm 1918—1922" 
xX u Poss xyaomecTBemmmx cMRcONATOR B ACAC Opranusaipar wcxyccroa” 


s 


EL LISSITZKY: Two pages from the periodical Gegenstand. Berlin, 1922. 


In RUMANIA: M. Jancu and others; 

In RUSSIA: Alexey Gan, Klutzis, El Lissitzky, Rodchenko, Syenykin, 
G. Stenberg, and others; 

In SERBIA: Ljubomir Micié: 

In CZECHOSLOVAKIA: Markalous, Zdenek Rossmann, Karel Teige, and 
others; 

In HUNGARY: Kassak, Molnar-Farkas, and others. 

Finally the magazine e/ementare typographie (special number of J/ypo- 
graphische Mitteilungen), produced by the author of the present work in 
October 1925, did much to spread knowledge of the New Typography in 
printing-trade circles. After it had been originally criticized in most dis- 
paraging terms, and keenly attacked, the success of the New Typography is 
now assured, and even its most outspoken opponents among the leading 
trade papers have now to accept its validity — with the exception of the 
Schweizer Graphische Mitteilungen, which still clings blindly to the old 
worn-out concepts. They try to cover up this change of mind by phrases 
such as that they are taking the “moderate” point of view (which doesn't 
exist} and so on. After a series of purely malicious attacks, when they 
found that they could not make any serious criticisms of the New 
Typography, they had willy-nilly to accept it. In the worst cases they 


29 


EL LISSITZKY (1922-1923): 
Two pages (poem titles) from Mayakovsky, Dlya golossa (for reading aloud) 


enn? 


APMKM 
WCKYCCTB 


NPHKAZN:2 


KyYMA 


@@. 


niob0Bb 


COMHUE 


HEOBBIYA 


BLIBWEE 


~ 


C 


BARHMHPO A 
KOOCKH 


SIMMSHK 


HHIhOUHAdU 


Ty 


HA DAYE PYMAHLLEBA, NYWKHHO, AKYNOBA FOPA, 
APOCNABCKAR kK. A. 


EL LISSITZKY (1922-1923): 
Two pages (poem titles) from Mayakovsky, Dlya golossa (for reading aloud) 


£9 


retreated into a silence that meant acceptance, because they had nothing 
to say. The outcome of the struggle reveals once more how little weight is 
carried by opinions of a few dissenting bigots. 

It would be naive and short-sighted to think that the New Typography, the 
result of the collective efforts of a whole generation of artists, is only a 
temporary fashion. The break with the old typography, made complete by 
the new movement, means nothing less than the total discarding of deco- 
rative concepts and the turn to functional design. This is the fundamental 
mark of the modern movement; and the New Typography, no less than the 
new technology, the new architecture, and the new music, is not a mere 
fashion but the expression of a newly opening epoch of European culture. 
Its aim, to design every job as completely and consistently as possible with 
contemporary means, introduces a fresh attitude towards all work; since 
techniques and requirements are in a state of constant change, fossilized 
rigidity is unthinkable. This is the starting-point for new developments: 
these are based not so much on artistic experiments as on the new meth- 
ods of reproduction which together with social needs created the new 
requirements. 


THE PRINCIPLES OF THE NEW TYPOGRAPHY 

Modern man has to absorb every day a mass of printed matter which, 
whether he has asked for it or not, is delivered through his letter-box or 
confronts him everywhere out of doors. At first, today’s printing differed 
from that of previous times less in form than in quantity. But as the quan- 
tity increased, the “form” also began to change: the speed with which the 
modern consumer of printing has to absorb it means that the form of print- 
ing also must adapt itself to the conditions of modern life. As a rule we no 
longer read quietly line by line, but glance quickly over the whole, and only 
if our interest is awakened do we study it in detail. 

The old typography both in feeling and in form was adapted to the needs of 
its readers, who had plenty of time to read line by line in a leisurely man- 
ner. For them, function could not yet play any significant role. For this rea- 
son the old typography concerned itself less with function than with what 
was called “beauty” or “art.” Problems of formal aesthetics (choice of type, 
mixture of typefaces and ornament) dominated considerations of form. It is 
for this reason that the history of typography since Manutius is not so 
much a development towards clarity of appearance (the only exception 
being the period of Didot, Bodoni, Baskerville, and Walbaum) as an embod- 
iment of the development of historical typefaces and ornaments. 


64 


It was left to our age to achieve a lively focus on the problem of “form” or 
design. While up to now form was considered as something external, a 
product of the “artistic imagination” (Haeckel even imputed such “artistic 
intentions” to nature in his Art Forms in Nature), today we have moved con- 
siderably closer to the recognition of its essence through the renewed 
study of nature and more especially to technology (which is only a kind of 
second nature). Both nature and technology teach us that “form” is not 
independent, but grows out of function (purpose), out of the materials 
used (organic or technical), and out of how they are used. This was how 
the marvellous forms of nature and the equally marvellous forms of tech- 
nology originated. We can describe the forms of technology as just as 
“organic” (in an intellectual sense) as those of nature. But as a rule most 
people see only the superficial forms of technology, they admire their 
“beauty” — of aeroplanes, cars, or ships — instead of recognizing that their 
perfection of appearance is due to the precise and economic expression of 
their function. In the process of giving form, both technology and nature 
use the same laws of economy, precision, minimum friction, and so on. 
Technology by its very nature can never be an end in itself, only a means to 
an end, and can therefore be a part of man’s spiritual life only indirectly, 
while the remaining fields of human creativity rise above the purely func- 
tional of technical forms. But they too, following the laws of nature, are 
drawn towards greater clarity and purity of appearance. Thus architecture 
discards the ornamental facade and “decorated” furniture and develops its 
forms from the function of the building — no longer from the outside 
inwards, as determined by the facade-orientation of pre-wartime days, but 
from the inside outwards, the natural way. So too typography is liberated 
from its present superficial and formalistic shapes, and from its so-called 
“traditional” designs which are long since fossilized. To us, the succession 
of historic styles, reactions against Jugendstil, are nothing but proof of cre- 
ative incompetence. It cannot and must not be our wish today to ape the 
typography of previous centuries, itself conditioned by its own time. Our 
age, with its very different aims, its often different ways and means and 
highly developed techniques, must dictate new and different visual forms. 
Though its significance remains undeniable, to think today that the 
Gutenberg Bible represents an achievement that can never again be 
reached is both naive and romantic rubbish. lf we want to “prove ourselves 
worthy” of the clearly significant achievements of the past, we must set our 
own achievements beside them born out of our own time. They can only 
become “classic” if they are unhistoric. 


65 


The essence of the New Typography is clarity. This puts it into delib- 
erate opposition to the old typography whose aim was “beauty” and whose 
Clarity did not attain the high level we require today. This utmost clarity is 
necessary today because of the manifold claims for our attention made by 
the extraordinary amount of print, which demands the greatest economy of 
expression. The gentle swing of the pendulum between ornamental type, 
the (superficially understood) “beautiful” appearance, and “adornment” by 
extraneous additions (ornaments) can never produce the pure form we 
demand today. Especially the feeble clinging to the bugbear of arranging 
type on a central axis results in the extreme inflexibility of contemporary 
typography. 

In the old typography, the arrangement of individual units is subordinated 
to the principle of arranging everything on a central axis. In my historical 
introduction | have shown that this principle started in the Renaissance and 
has not yet been abandoned. Its superficiality becomes obvious when we 
look at Renaissance or Baroque title-pages (see pp. 17, 18). Main units are 
arbitrarily cut up: for example, logical order, which should be expressed by 
the use of different type-sizes, is ruthlessly sacrificed to external form. 
Thus the principal line contains only three-quarters of the title, and the rest 
of the title, set several sizes smaller, appears in the next line. Such things 
admittedly do not often happen today, but the rigidity of central-axis set- 
ting hardly allows work to be carried out with the degree of logic we now 
demand. The central axis runs through the whole like an artificial, invisible 
backbone: its raison d’étre is today as pretentious as the tall white collars 
of Victorian gentlemen. Even in good central-axis composition the contents 
are subordinated to “beautiful line arrangement.” The whole is a “form” 
which is predetermined and therefore must be inorganic. 

We believe it is wrong to arrange a text as if there were some focal point in 
the centre of a line which would justify such an arrangement. Such points 
of course do not exist, because we read by starting at one side (Europeans 
for example read from left to right, the Chinese from top to bottom and 
right to left). Axial arrangements are illogical because the distance of the 
stressed, central parts from the beginning and end of the word sequences 
is not usually equal but constantly varies from line to line. 

But not only the preconceived idea of axial arrangement but also all other 
preconceived ideas — like those of the pseudo-constructivists — are dia- 
metrically opposed to the essence of the New Typography. Every piece of 
typography which originates in a preconceived idea of form, of whatever 
kind, is wrong. The New Typography is distinguished from the old 
by the fact that its first objective is to develop its visible form 


f34U-AUSSTELLUNG 


STUTTGART 1924 E.V. 


EINLADUNG 


ZUR TEILNAHME AN DER EROFFNUNGSFEIER DER 


BAU 
AUSSTELLUNG 
STUTTGART 1924 


AM SONNTAG, DEN 15. JUNI 1924, MITTAGS 12 UHR 
IN DER HALLE DES HAUPTRESTAURANTS OER 
AUSSTELLUNG (EINGANG SCHLOSS-STRAS SE) 


v. JEHLE 


PRASIDENT DES WURTT. 
LANDESGEWERBEAMTS 


i ES WIRD HOFL. GEBETEN. 
DIESE KARTE AM EINGANG 
VORZUZEIGEN 


WILLI BAUMEISTER: Invitation card. Example of reading-order. 


out of the functions of the text. It is essential to give pure and direct & 
expression to the contents of whatever is printed; just as in the works of 
technology and nature, “form” must be created out of function. Only then 
can we achieve a typography which expresses the spirit of modern man. 
The function of printed text is communication, emphasis (word value), and 
the logical sequence of the contents. 

Every part of a text relates to every other part by a definite, logical rela- 
tionship of emphasis and value, predetermined by content. It is up to the 
typographer to express this relationship clearly and visibly, through type 
sizes and weight, arrangement of lines, use of colour, photography, etc. 
The typographer must take the greatest care to study how his work is read 
and ought to be read. It is true that we usually read from top left to bottom 
right — but this is not a law. It is shown at its clearest in Willi Baumeister’s 
invitation card. There is no doubt that we read most printed matter in suc- 
cessive steps: first the heading (which need not be the opening word) and 
then, if we continue to read the printed matter at all, we read the rest bit 
by bit according to its importance. It is therefore quite feasible to start 
reading a text at a different point from the top left. The exact place 
depends entirely on the kind of printed matter and the text itself. But we 
must admit that there are dangers in departing from the main rule of read- 


67 


ing from the top to the bottom. One must therefore, in general, not set a 
following body of text higher than the preceding one — assuming that the 
arrangement of the text has a logical sequence and order. 

Working through a text according to these principles will usually result in a 
rhythm different from that of former symmetrical typography. Asymmetry is 
the rhythmic expression of functional design. In addition to being more log- 
ical, asymmetry has the advantage that its complete appearance is far more 
optically effective than symmetry. 

Hence the predominance of asymmetry in the New Typography. Not least, 
the liveliness of asymmetry is also an expression of our own movement and 
that of modern life; it is a symbol of the changing forms of life in general 
when asymmetrical movement in typography takes the place of symmetrical 
repose. This movement must not however degenerate into unrest or chaos. 
A striving for order can, and must, also be expressed in asymmetrical form. 
It is the only way to make a better, more natural order possible, as opposed 
to symmetrical form which does not draw its laws from within itself but from 
outside. 

Furthermore, the principle of asymmetry gives unlimited scope for variation 
in the New Typography. It also expresses the diversity of modern life, unlike 
central-axis typography which, apart from variations of typeface (the only 
exception), does not allow such variety. 

While the New Typography allows much greater flexibility in design, it also 
encourages “standardization” in the construction of units, as in building. 


BUCHVERTRIEB 
G M B H 


»DAS POLITISCHE BUCH. 


BERLIN-SCHMARGENDORF 


Centred layout using lightweight sanserif has no visual effectiveness and reaches a 
“typographic low” for today (letterhead for a bookshop). 


68 


The old typography did the opposite: it recognized only one basic form, the 
central-axis arrangement, but allowed all possible and impossible construc- 
tion elements (typefaces, ornaments, etc.). 

The need for clarity in communication raises the question of how to achieve 
clear and unambiguous form. 

Above all, a fresh and original intellectual approach is needed, avoiding all 
standard solutions. If we think clearly and approach each task with a fresh 
and determined mind, a good solution will usually result. 

The most important requirement is to be objective. This however does not 
mean a way of design in which everything is omitted that used to be tacked 
on, as in the letterhead “Das politische Buch” shown here. The type is cer- 
tainly legible and there are no ornaments whatever. But this is not the kind 
of objectivity we are talking about. A better name for it would be meager- 
ness. Incidentally this letterhead also shows the hollowness of the old prin- 
ciples: without “ornamental” typefaces they do not work. 

And yet, it is absolutely necessary to omit everything that is not needed. 
The old ideas of design must be discarded and new ideas developed. It is 
obvious that functional design means the abolition of the “ornamentation” 
that has reigned for centuries. 

The use of ornament, in whatever style or quality, comes from an attitude of 
childish naivety. It shows a reluctance to use “pure design,” a giving-in to 
a primitive instinct to decorate — which reveals, in the last resort, a fear of 
pure appearance. It is so easy to employ ornament to cover up bad design! 
The important architect Adolf Loos, one of the first champions of pure form, 
wrote already in 1898: “The more primitive a people, the more extrava- 
gantly they use ornament and decoration. The Indian overloads everything, 
every boat, every rudder, every arrow, with ornament. To insist on decora- 
tion is to put yourself on the same level as an Indian. The Indian in us all 
must be overcome. The Indian says: This woman is beautiful because she 
wears golden rings in her nose and her ears. Men of a higher culture say: 
This woman is beautiful because she does not wear rings in her nose or her 
ears. To seek beauty in form itself rather than make it dependent on orna- 
ment should be the aim of all mankind.” 

Today we see in a desire for ornament an ignorant tendency which our cen- 
tury must repress. When in earlier periods ornament was used, often in an 
extravagant degree, it only showed how little the essence of typography, 
which is communication, was understood. 

It must be understood that “ornament” is not only decorated rules and 
printers’ flowers but also includes all combinations of rules. Even the 


thick/thin rule is an ornament, and must be avoided. (It was used to dis- 
guise contrasts, to reduce them to one level. The New Typography, on the 
other hand, emphasizes contrasts and uses them to create a new unity.) 
“Abstract decorations” which some foundries have produced under differ- 
ent names are also ornaments in this sense. Unfortunately many people 
have thought the essence of the New Typography consists merely in the 
use of bold rules, circles, and triangles. If these are merely substituted for 
the old ornaments, nothing is improved. This error is forgivable since, after 
all, all former typography was oriented towards the ornamental. But that is 
exactly why the utmost care must be taken to avoid replacing the old floral 
or other ornamentation with abstract ornaments. Equally the New 
Typography has absolutely nothing to do with “pictorial” typesetting 
(Bildsatz) which has become fashionable recently. In almost all its exam- 
ples it is the opposite of what we are aiming for. 

But it is not enough to dispense with ornament in order to create a mean- 
ingful form. We have already seen that even the old form that dispenses 
with ornament is ineffective because it is still based on the effect of orna- 
mental types. The form of the old typography could be taken in at a glance, 
even though this does not correspond with the reading process. Even if | 
succeed in recognizing the outline of the type matter | have not really read 
anything. Reading presupposes eye movement. The New Typography so 
designs text matter that the eye is led from one word and one group of 
words to the next. So a logical organization of the text is needed, through 
the use of different type-sizes, weights, placing in relation to space, colour, 
etc. 

The real meaning of form is made clearer by its opposite. We would not rec- 
ognize day as day if night did not exist. The ways to achieve contrast are 
endless: the simplest are large/small, light/dark, horizontal/vertical, 
square/round, smooth/rough, closed/open, coloured/plain; all offer many 
possibilities of effective design. 

Large differences in weight are better than small. The closer in size differ- 
ent types are to each other, the weaker will be the result. A limit to the 
number of type sizes used — normally three to not more than five — is 
always to be recommended. This has the additional advantage of being 
easier both in designing and in setting. Variations in size should be 
emphatic: it is always better for the headline to be very large and the 
remaining text noticeably smaller. 

It is vital that all contrasts, for example in type sizes, should be logical. For 
example, a forename should not have a much larger initial letter if the 


70 


STATISTIK per 


EHESCHEIDUNGEN 


@ 
AO ceo IN DEUTSCHLANDe 


TN 
CY 
CO 
SUUSUAABRAERRERUEE NRE 
TOC OT 
TNA TTT 
eT EE 


1900" sy 1903 1905" "1908" i910 " 1912." 1914” “1917 " 1919 921” 1924 


<9) (14582) (15529) 417349) «1603) (220%) (39286) < 35660) 


-EHE-BUCH 


ZEIGEN 24 FUHRENDE GEISTER DEN AUSWEG AUS DIESER KRISE @ 
JEDER WIRD IN DIESEM WERK AUF DEN TIEFEN SINN SEINER PER- 
SONLICHEN FRAGE DIE ANTWORT UND EINEN RAT FINDEN 


75 000 


MITARBEITER $ GRAF KEYSERLING (nessusctets uno mitancerres }@ THOMAS 
MANN @ RICARDA HUCH @ JACOB WASSERMANN @ HAVELOCK ELLIS @ RABIN- 
DRANATH TAGORE @ FURSTIN LICHNOWSKY @ A.W. NIEUWENHUIS @ LEO FRO- 
BENIUS @ ERNST KRETSCHMER @ BARONIN LEONIE UNGERN-STERNBERG @ 
RICHARD WILHELM @ BEATRICE HINKLE @HANS VON HATTINGBERG@ MATHILDE 
VON KEMNITZ @ GRAF THUN-HOHENSTEIN @ MARTA KARLWEIS @ ALPHONS 
MAEDER @ LEO BAECK @ JOSEPH BERNHART @ PAUL ERNST @ ALFRED ADLER 
@ C.G.JUNG @ PAUL DAHLKE 


NIELS KAMPMANN VERLAG CELLE 


PREIS S$ HALBLEINEN: 122° aanzieinen: 190° Hawpuever: 20° 


TWEE: TRO-SOHOLD LANES BEL UNOGEM  DENPORMAT ATA P42 Bat) 


JAN TSCHICHOLD: Poster 1926, Normformat A 


71 


beginning of the principal name is not specially indicated. All form must 
correspond with meaning and not contradict it. 

In asymmetric design, the white background plays an active part in the 
design. The typical main display of the old typography, the title-page, 
showed its black type on a white background that played no part in the 
design (see the reproductions on pp. 20-27). In asymmetric typography, on 
the other hand, the paper background contributes to a greater or lesser 
degree to the effect of the whole. The strength of its effect depends on 
whether it is deliberately emphasized or not; but in asymmetric design it is 
always a component. The New Typography uses the effectiveness of the 
former “background” quite deliberately, and considers the blank white 
spaces on the paper as formal elements just as much as the areas of black 
type. In this way the New Typography has enriched the art of printing by 
giving it a new medium of expression. The powerful effect in many exam- 
ples of the New Typography depends directly on the use of large areas of 
white: white is always stronger than grey or black. Strong contrasts 
between white and black, in the form of type or rules, emphasize the white 
areas and greatly assist the total effect. 

A common misunderstanding of what we are about can be seen when the 
area of white has been decided beforehand and the text compressed into 
it. It is equally wrong to suppose that areas of white are ever more impor- 
tant than the words of the text. 

When the design of a piece of typography is looked at — and all typogra- 
phy has a design, of varying nature and quality — modern typography is 
distinguished by its formal use of the white and black areas. Of course, log- 
ically only the type is important. 

The pursuit of greater effectiveness and clarity in the relationship between 
black and white areas often leads to a noticeable reduction of margins 
(always prominent in the old typography). In the New Typography margins 
often almost entirely disappear. Of course type cannot in most cases be set 
right up to the edge of the paper, which would hinder legibility. In small 
items of printed matter, 12 to 24 points are the minimum margin required; 
in posters 48 points. On the other hand, borders of solid red or black can 
be taken right up to the edge, since unlike type they do not require a white 
margin to achieve their best effect. Blocks too can be bled off the page 
provided the trim is accurate. 


Colour 
In contrast with the old typography, in which colour as well as form was 
always used decoratively, in the New Typography colour is used function- 


72 


ally, i.e. the physiological effect peculiar to each colour is used to increase 
or decrease the importance of a block of type, a photograph, or whatever. 
White, for example, has the effect of reflecting light: it shines. Red comes 
forward, it seems closer to the reader than any other colour, including 
white. Black on the other hand is the densest colour and seems to retire 
the furthest. Of the other colours, yellow, for example, is close to red, and 
blue to black. (We do not accept a “literary” identification of colours, for 
example red = love, yellow = envy, as not being natural.) 

We have today a strong feeling for light, therefore for white, which explains 
its importance in the New Typography. The liveliness of red corresponds to 
our own natures, and we prefer it to all other colours. The already strong 
contrast between black and white can be greatly enhanced by the addition 
of red. (This ts admittedly not a new discovery: but we have perhaps made 
sharper use of this combination than the earlier typographers, who also 
much enjoyed using black-red on white, especially in the Gothic and 
Baroque periods.) 

The combination of black-red is of course not the only possibility, as is 
often mistakenly supposed, but it is often chosen because of its greater 
intensity. Colour should be used, in general, to help express the purpose of 
the work: a visiting-card does not require three colours, and a poster gen- 
erally needs more than just black and white. 

Pure red, yellow, and blue, unmixed with black, will generally be preferred, 
because of their intensity, but other mixed colours need not be excluded. 


Type 

None of the typefaces to whose basic form some kind of ornament has 
been added (serifs in roman type, lozenge shapes and curlicues in fraktur) 
meet our requirements for clarity and purity. Among all the types that are 
available, the so-called “Grotesque” (sanserif) or “block letter” (“skeleton 
letters” would be a better name) is the only one in spiritual accordance 
with our time. 

To proclaim sanserif as the typeface of our time is not a question of being 
fashionable, it really does express the same tendencies to be seen in our 
architecture. It will not be long before not only the “art” typefaces, as they 
are sometimes called today, but also the classical typefaces, disappear, as 
completely as the contorted furniture of the eighties. 

There is no doubt that the sanserif types available today are not yet wholly 
satisfactory as all-purpose faces. The essential characteristics of this type 
have not been fully worked out: the lower-case letters especially are still 
too like their “humanistic” counterparts. Most of them, in particular the 


73 


newest designs such as Erbar and Kabel, are inferior to the old anonymous 
sanserifs, and have modifications which place them basically in line with 
the rest of the “art” faces. As bread-and-butter faces they are less good 
than the old sans faces. Paul Renner’s Futura makes a significant step in 
the right direction. 

But all the attempts up to now to produce a type for our time are merely 
“improvements” on the previous sanserifs: they are all still too artistic, too 
artificial, in the old sense, to fulfil what we need today. 

Personally | believe that no single designer can produce the typeface we 
need, which must be free from all personal characteristics: it will be the 
work of a group, among whom | think there must be an engineer. 

For the time being it seems to me that the jobbing sanserifs, like those from 
Bauer & Co. in Stuttgart, are the most suitable for use today, because of 
their functionalism and quiet line. Less good is Venus and its copies, owing 
to the bad design of caps E and F and the lower-case t with its ugly slanted 
crossbar. In third place, when nothing better is available, come the 
“painterly” (malerischen) block letters (light and bold, etc.) with their 
seemingly gnawed-off edges and rounded finials. Of the roman types, the 
bold romans (the Aldine, and bold Egyptians), with their exact drawing, are 
best, as far as types for emphasis are required. 

The essential limitation of this restricted range of typefaces does not mean 
that printers who have no or too few sanserif faces cannot produce good 
contemporary typography while using other faces. But it must be laid down 
that sanserif is absolutely and always better. | am aware that to lay down 
the law like this will offend the romantic predilections of a large part of the 
printing trade and the public for the old “decorative” faces. These old types 
can however from time to time find a new use in modern typography: for 
fun, for example in order to make a typographical parody of the “good old 
days”; or as an eye-catcher — for example by using a bold fraktur B in the 
middle of sanserif — just as the pompous uniforms of Victorian generals 
and admirals have been degraded for flunkeys and fancy dress. Whoever is 
so attached to fraktur — this sixteenth-century clerk’s type — that he can- 
not let go of it, should also not do violence to it by using it in modern 
typography where it can never be comfortable. Fraktur, like gothic and 
Schwabacher, has so little to do with us that it must be totally excluded as 
a basic type for contemporary work. 

The emphatically national, exclusivist character of fraktur — but also of the 
equivalent national scripts of other peoples, for example of the Russians or 
the Chinese — contradicts present-day transnational bonds between peo- 


74 


yrattur 
SGdhwabadher Gotifh 


Griechisch 


Cyrillisch 
(= Russisch und Bulgarisch) 


Tirkisch (= Arabisch) 
Chinesisch (= Japanisch) 


= NATIONALISMUS 


Indisch 


Schriften der Exoten 
(Zulukaffern, Papuas usw.) 


ple and forces their inevitable elimination.® To keep to these types is retro- 
grade. Roman type is the international typeface of the future. These impor- 
tant changes must come, since they express the actual spirit of our age and 
are required by the technical forms of the present and indeed the future. 
As undesirable as fraktur are those roman types with extraordinary forms, 
such as script and decorated, like Eckmann and others. The details of these 
faces distract from the meaning and thus contradict the essence of typog- 
raphy, which is never an end in itself. Their use for parody, in the sense 
described above, of course remains legitimate. 

As a bread-and-butter type today’s sanserifs are only partially suited. A 
bolder face is out of the question because continuous reading matter in 
bold sanserif is not easy to read. | find the best face in use today is the so- 
called ordinary jobbing sanserif, which is quiet and easy to read. In using it 
for this book | wanted to show how readable it is; but | still have certain 
reservations. However it is preferable to all the romans. (In the particular 
choice of type for this book | was limited to what the printer held.) 

The main reason why sanserif is so seldom used today for normal text set- 
ting is that in general there is not enough of it available. So for much 
printed matter and books like the present one, entirely set in sanserif, it 


® There are movements in Russia. Turkey. and China today to do away with nationalistic typefaces 
and replace them with roman. In Germany. on the contrary, railway-station lettering in roman is 
being replaced by gothic — which for foreigners is virtually unreadable! 


75 


will remain the exception. In such cases the text face will be a good roman, 
and sanserif will be reserved for emphasis. 

Even more than the historic typefaces, the “artists’” typefaces are disturb- 
ing because of their strongly individual character, which is in direct oppo- 
sition to the spirit of our age and makes them unsuitable for properly 
designed printing today. No period was so preoccupied with individualism 
as that from the beginning of the present century up to the outbreak of 
war. The “artists’” types of this period reached their lowest point. None are 
in any way better than their predecessors, which are preferable for their 
superior quality. 

Nevertheless the classic faces like Walbaum, Didot, Bodoni, etc. cannot 
serve as bread-and-butter types today. In terms of their conception they 
possess romantic associations, they divert the reader's attention into cer- 
tain emotional and intellectual spheres and clearly belong to a past with 
which we have no connection. A natural development — not a forced one — 
would hardly have brought them back again. 

To my mind, looking at the modern romans, it is the unpretentious works of 
the anonymous type-designers that have best served the spirit of their age: 
Sorbonne, Nordische Antiqua, Franzdsische Antiqua, and so on. These 
three typefaces and their derivatives are the best designs from the pre-war 
period.® They are easily legible; they are also above all in a technical sense 
useful and free from personal idiosyncrasies — in the best sense of the 
word, uninteresting. They can therefore be used everywhere, when a roman 
type has to be used because no appropriate sanserif is available. 


On the expressiveness of type 

Those who claim that sanserif is the typeface of our own age are often told 
that it does not express anything. 

Do other typefaces express anything? Is it really a typeface’s job to express 
spiritual matters? 

Yes and no. The widely held belief that every typeface has some “spiritual” 
content is certainly not true of either gothic type (textura) or sanserif. The 
enormous number of typefaces available today, which express only an 
absence of creativity and are the result of the feebly eclectic nature of the 
pre-war period, may lead to the erroneous conclusion that gothic type 


® in the postwar period, the type foundries repeated their old mistakes in an even worse form: 
their daily “best sellers” have not the slightest importance for the future. 


76 


expresses peace, solemnity and religion, and italic, on the contrary, 
expresses cheerfulness and joy. However, all the innumerable things that 
can be expressed in writing, of whatever kind, at any time, are set down in 
one — or at most two — kinds of lettering or type. Yes, the character of 
gothic is religious and solemn, that of rococo (as far as the wealthy class is 
concerned) is light-hearted, but the typography of those times, even when 
expressing something contrary to the “zeitgeist,” is always logical and sty- 
listically consistent. In the Gothic period even profane texts were set in tex- 
tura, and in the Rococo period an invitation to a funeral looks in no way 
different from any light-hearted printed matter of the same period (cf. illus- 
tration on p. 20). 

All lettering, especially type, is first and foremost an expression of its own 
time, just aS every man is a symbol of his time. What textura and also 
rococo type express is not religiosity, but the Gothic, not cheerfulness, but 
the Rococo; and what sanserif expresses is not lack of feeling but the 
twentieth century! There is no personal expression of the designer, nor was 
it ever his aim, except in the first years of our century. The different kinds 
of type get their character from the different ideas of form in every age. 
Every punch-cutter wished to create the best possible typeface. If Didot 
did something different from Fleischmann, it was because times had 
changed, not because he wanted to produce something “special,” “per- 
sonal,” or “unique.” The conception of what a good typeface should look 
like had simply changed. 

The eclectic nature of the pre-war period led people to play with typefaces 
of every period, thus revealing their own artistic poverty. A book about the 
Thirty Years’ War had to be set in a different face from Morike’s poems or 
an industrial catalogue. But St Augustine was set in textura, not in uncial! 
All printed matter of whatever kind that is created today must bear the hall- 
mark of our age, and should not imitate printed matter of the past. This 
applies not only to the typeface but of course to every element of the man- 
ufacture: the illustrations, the binding, etc. Earlier periods, unlike us ever 
conscious of themselves, always denied the past, often very crudely; that 
can be seen in the building of cathedrals, in the general development of 
culture, and in typography. The punch-cutter Unger, creator of Unger- 
fraktur (c. 1800) and a famous typographer, declared that Schwabacher 
was an ugly type and introduced letter-spacing for emphasis in fraktur 
(previously, Schwabacher had been used for emphasis in fraktur). He was 
absolutely right. His age, the Rococo, found that gothic, and its ways of 
expression, including Schwabacher, were out of harmony with their own 


77 


times, and hence ugly: Unger was merely its mouthpiece in our field of 
typography. 

An art historian may prize the good qualities of the old Schwabacher type, 
and we too can see that it was an excellent face of its period, but we must 
not use it today, it is totally unsuitable for the 20th century. So are all the 
other historical typefaces. 

Like everyone else, we too must look for a typeface expressive of our own 
age. Our age is characterized by an all-out search for clarity and truth, for 
purity of appearance. So the problem of what typeface to use is necessarily 
different from what it was in previous times. We require from type plainness, 
clarity, the rejection of everything that is superfluous. That leads us to a 
geometric construction of form. In sanserif we find a type that comes very 
close to these requirements, so it must become the basis for all future work 
to create the typeface of our age. The character of an age cannot be 
expressed only in rich and ornamental forms. The simple geometric forms of 
sanserif express something too: clarity and concentration on essentials, and 
so the essence of our time. To express this is important. But it is not impor- 
tant to create special types for advertising perfume manufacturers and fash- 
ion shops, or for lyrical outpourings by poets. It was never the task of 
punch-cutters of the past to create a type for a single kind of expression. 
The best typefaces are those which can be used for all purposes, and the 
bad ones those which can be used only for visiting-cards or hymn books. 
A good letter is one that expresses itself, or rather “speaks,” with the 
utmost distinctiveness and clarity. And a good typeface has no purpose 
beyond being of the highest clarity. 

Sanserif, looked at in detail, is admittedly capable of improvement, but 
there is no doubt that it is the basic form from which the typeface of the 
future will grow. 

Other individual expressive possibilities of type have nothing to do with 
typography. They are in contradiction to its very nature. They hinder direct 
and totally clear communication, which must always be the first purpose of 


typography. 


Orthography as at present or all in lower case? 

In roman type and its simpler form, sanserif, we possess faces that have 
been made out of not one but two alphabets. This combination took place 
in the 15th century. The one alphabet, the capitals, known as majuscules, 
was made by the old Romans as a form shaped by the chisel, at the begin- 
ning of our era. The other alphabet, the small or lower-case letters, called 


78 


minuscules, dates from the time of the emperor Charlemagne, about 
A.D. 800; the so-called Carolingian minuscule, a written letter made with a 
pen, with ascenders and descenders. This script too was originally com- 
plete in itself. The concept of “capital letters” was foreign to it. It was dur- 
ing the Renaissance that these two forms of letter, the roman capitals and 
the Carolingian minuscules, were combined to make one alphabet, the 
“Antiqua” or “roman.” This is the explanation of the dichotomy, especially 
noticeable in German, between the capitals and the smaller letters. It is 
much less noticeable in other languages, especially French and English, 
because they use capital letters much less often than in German. Settings 
in roman type in English always look better than in German because they 
employ fewer accents and in particular do not use capitals for the first let- 
ters of nouns. 

For a long time now there have been efforts to abolish the use of capital 
initial letters for nouns and make German writing conform with the interna- 
tional style. This signalling of nouns with capitals started in the Baroque 
period and seems to us now no longer useful. The rules governing our use 
of capitals make teaching at school more difficult and also present prob- 
lems in later life because of the many exceptions. Jakob Grimm, one of the 
founders of German studies, advocated its abolition already a hundred 
years ago, and referred to the Old and Middle High German literature in 
which capitals were used only for proper names and beginnings of sen- 
tences. Following him, capitals have been used by Germanic scholars only 
in this way. 

The aesthetic critic finds this mixture of two such differently designed faces 
unpleasing. For this reason many artists prefer to use capitals only, to avoid 
mixing them with lower case. In France recently there have been many 
examples of the independent use of lower case only (see the advertisement 
on this page) — mainly in fashion publicity and the announcements in fash- 
ion-shop windows. Besides the exclusive use of lower case for text can be 
seen the use of capitals alone for headings — and vice-versa, capitals for 
text and lower case for headings. From this one can see that it is now rec- 
ognized that the two alphabets of roman are really two different styles, and 
should be used in parallel, but not mixed. 

The New Typography does not accept either of these alternatives to the 
previous system — adjustment to the international writing method, or divi- 
sion of roman type into capitals and lower case and regarding them as sep- 
arate alphabets, even if this is against current opinion. It accepts neither 
the view of the Germanists nor that of the artists following the eclectic 


79 


tows les elegants 
connaissent 


Ss 
ood 
eS 
os 


/PWoorme 


Advertisement from the French fashion magazine Vogue. 
All words are set in lower case. 


French fashion. The New Typography demands economy in type design. To 
redesign our letters completely — as in shorthand and lettering for the blind 
— would be quite impractical and unacceptable. So we have to make do 
with the type we have, the capitals and the lower case. To decide which to 
choose is not difficult, because capitals in continuous text are too difficult 
to read. Lower-case letters are far easier to read, because of the ascenders 
and descenders which make complete words easier to recognize. 

A completely one-type system, using lower case only, would be of great 
advantage to the national economy: it would entail savings and simplifica- 
tions in many areas; and would also result in great savings of spiritual and 
intellectual energy at present wasted: we can mention here the teaching of 
writing and orthography, a great simplification in typewriters and typing 
technique, a relief for memory, type design, type-cutting, type-casting, and 
all composition methods — and so on. 

At the same time as economic advantages, the use of minuscule would give 
us a Stylistically faultless letter, so scientific advantage would be combined 
with aesthetic. 


80 


So there cannot be any change in orthography if it means abandoning the 
concept of capitals and lower case. We can go on using the small letters, 
only the use of capitals is discontinued. (A subsequent continuance of cap- 
itals in some special kinds of writing could be considered.) 

But whether roman and also modern sanserif lower case can continue to 
express the opinions and claims of the present is open to doubt. Their form 
has always too much of writing and too little of type, and the efforts of the 
future will be directed towards suppressing their written character and 
bringing them closer to true print form. 

German orthography if it is to be truly contemporary must see changes, 
which will undoubtedly influence typeface design. Above all we must lose 
the burden of too much heavy philology in linguistics, and provide our- 
selves with self-explanatory signs for sch, ch, dg, drop the unnecessary 
letters (z, gq, c) and aim at the rule “Write as you speak!” and its counter- 
part “Speak as you write!” On this basis a new and more practical orthog- 
raphy could be achieved, without which literature cannot succeed. 

Of course such a revolution in orthography and type will not happen in a 
day, but its time will assuredly come. Whether consciously or uncon- 
sciously, cultural developments take place and men change with them. The 
typeface of the future will not come from a single person but from a group 
of people. 

It is significant that one of the best new books on speech, type, and 
orthography has been written not by an architect or a philologist but by an 
engineer: Sprache und Schrift (Speech and writing) by Dr W. Porstmann. 
Anyone interested in these problems will find this essential reading. 

At the same time, while the New Typography regards the removal of capi- 
tals as desirable, it is not an absolute demand. But it lies, like a more logi- 
cal design for our orthography, in our path: an unmistakable design for 
typography that is in harmony with the desires and demands of our time. 


Mistakes often met 

In the beginning, many saw a new formalism in the New Typography: that 
is, they adopted some of its most obvious features — circles, triangles, 
rules — as geometrical features and used them as if they were the old kinds 
of ornament. The “elementary ornaments” (itself a contradiction in terms) 
brought out by some foundries under various names further helped to 
spread this misunderstanding. These basic geometric forms which we like 
to use must however be functional: they must emphasize words or para- 
graphs or be justified by the formal harmony of the whole. But instead of 


this we still find truly childish, pseudo-constructive shapes, which are 
totally contradictory to the spirit of the New Typography. 

The newspaper advertisement shown here is a typical example of pseudo- 
constructivism, found all too commonly. Its form is not natural but comes 
from an idea before it was set. The advertisement is no longer typography 
but painting with letters, it turns good typography into borrowed, misun- 
derstood, and thoughtless shapes. 

A similar example is in the two-colour business announcement on this 
page. Again, a previously conceived and meaningless shape is used, which 
has no connection with the text or its logical arrangement and in fact con- 
flicts with it. Another serious fault is the lack of contrast in colour, which 
emphasizes the bland and boring look of the whole. 

The magazine cover on the facing page is an even worse example. It 
attemps to be “technical” but contradicts the whole nature of what actually 


MUSIK DER ZEIT 
WORT DER ZEIT 
TANZ DER ZEIT 


BUCHELER-.GERFIN 
PAMELA WEDEKIND 
LASAR GALPERNS 


DONNERSTAG, DEN a FEBR., 8 UHR ABENDS 
STADT. KAUFHAUS UAT. MITW. D. SCHULE FUR TANZKULTUR 


KARTER ZU GB, 4,3, 2 @ BEI FR JOST, TH ALTHOPF UBD 
MAN TACKOC BALE TIPOE © Saeed: BLA & wcemaEs, LUPE 48 DER ABERDEASSE, LOSZEATOIRERTION & SONUSENT 


JAN TSCHICHOLD: Typographic poster for a concert. Red and black on silver. 


82 


is technical. Here we see the mixing-in 
of that “art” against which we are fight- 
ing — an artificiality which neglects truth 
and merely makes a “pretty shape” which 
fails to express the purpose of the de- 
sign. Imagination must be used on the 
basis of actual purpose, if truth in design 
is to be achieved. (In painting it is differ- 
ent: no restrictions are laid down, 
because the work does not have a fixed 
purpose.) 

One also often finds the use of historical 
typefaces (Schwabacher, gothic, fraktur) 
in the manner of contemporary typogra- 
phy. But it is wrong to use these histori- 
cal forms in this way — they are foreign 
to our time and should be used only in a 
manner suitable to their own age. Can 
you imagine an airline pilot with a beard? 
The juxtaposition of positive and nega- 
tive (reversed black to white) type, first 
introduced by commercial artists, can 
also be found in purely typographic 
work. There is no objection to this if it is 
based on logic (an important part of a 
word can be emphasized in this way) — 
but that is not often the case. A word is 
often broken for purely formal reasons. 
This is not a sign of the New Typog- 
raphy. Independent negative lines can of 
course be beautiful and are usually very 
effective. 

Equally, setting in which blocks of text 
are arranged alternately on the left and 
right of an imaginary vertical line usually 
has a forced and unsatisfactory effect. 
The resulting uneven spacing and the 
violence of the block-shapes are merely 
unpleasing repetitions of old mistakes. 


mit aussergewonnl. Einkommen bietet sich in 
Berlin, wie auch auswarts, organ. befahigten 


Kaufleuten als Reprasentanten eines erst- 
Klassigen Reklame-Unternehmens.Bran- 


chenkenntnisse 


Angenehme 


Selbstandigkeit 


nicht 


erforderlich. 


Barkapital 6-8000 M. auch Referenzen 
mussen nachweisbar sein. AusfUhrliche Offerten erbeten 


unter J. H. 3967 an Rudolf Mosse, 


Berlin SW 19 


The compositor has the idea of a prefabricated foreign shape and forces the words into it. But 
typographic form must be organic, it must evolve from the nature of the text. 


An example of pseudo-modern typography. 


Wrong! 

It looks functional but when 
examined more closely we 
find it is superficial and 
does not express the text. 
In the middle, it is very diffi- 
cult to find where to go on 
reading. Certain forms of 
abstract painting, under- 
stood only — superficially. 
have been used in this 
piece, but typography is not 
painting! 


84 


———----—— 


Ew HOCHWOHLGEBOREN 


J. HERRMANN JUNIOR 


MUNCHEN - SCHILLERSTRASSE 34.35 - TEL 53426 -54 386 
SCHAUFENSTER- U LADENEINRICHTUNGEN 


Wenn Ihre Entwirfe fur Innenarchitektur geschaft- 
ticher Art ausgelUhnt werden sollen, wird Ihnen die 
Zusammenarbeit mit einer leistungsfahigen Firma 
erwinccht sein, die besondere Eclahrung auf diesem 
Spezialgebict hat und die peinlich bemiht ist, auf 
alle Ihre Wiansche und Ideen genau einzugehen @ 
Unsere seit dem Jahre 1886 bestehende Firma fa- 
briziert in ihrer modern oingerichteten Mobelfabrik 


in erster Linie alle Arten vonLADEN- UND a 
Sie het durch jahrelange SCHAUFENSTER- 


fur Geschafte aller An, Mode-u. 


Pranic wertvolle technische EINRICHTUNGEN kosthandlungen u. Gaststatten 


Edahrungen gesammelt und kann mit rahlrerchen 
Einteilungemustern {Ur Spezialschranke u. -Tische, 
{ue Stellagen und Warenaufbauten aufwarten. Wir 
bitten Sie deshalb, sich bei der Ausfilhrung thre: 
Arbeiten mit uns in Verbindung zu setzen odes un- 
sere Firma zu empfehlen und sind mit Vergnigen 
bereit, Ihnen in diesem Fatle beeondere Vergin- 
atigungen ecinzurdumen. Kostenvoranschlage und 
beste Referenzen jederreit gerne zu Dieneten. 


Mit vorOglicher Hochachtung 


J.HERRMANN JUNIOR 


Kaufhauser,Konditoreien.Fein- 
! 


LS ee 


But no one will hold the New Typography responsible for all the mistakes 
made under its name. The value of the work of printers striving to create 
the typographical expression of our time cannot be lessened by failures 
always inherent in any new movement. 


Vi. 
HEFT 


TECHNISCHE 


HEV LE 


1LJAHRGANG1925 


VERLAG FUR TEC 


WIEN, , KOHLMARKT 8 


° 


Wrong! 

The word “Revue” is hard to read because of the complicated type: and 
the abstract forms are used thoughtlessly. purely for decoration, including 
the crossed thick-thin rules. The white paper background plays no part in 
the design. The whole shows a complete misunderstanding of the aims of 
the New Typography—which does not arrange decorative forms, but 
designs—that is, it resolves the given text, which itself must show the sim- 
plest forms, into a harmonious whole. 


Away with Scheme F! 

An ornamental scheme much loved in would-be contemporary 
typography. A square is often found instead of the circle shown 
at the top. It is considered especially beautiful if the square is 
not in the same weight as the “conventional” bold rules but is in 
thick/thin or some other “more interesting” variety of rule. How 
subtle is the blank magic square where the rules cross! 

This schematic form has nothing to do with designed 


typography! 


PHOTOGRAPHY AND TYPOGRAPHY 

The artistic value of photography has been argued about ever since it was 
invented. First it was the painters, until they realized that it presented no 
threat to them. To this day, the art historians argue about some of the prob- 
lems which photography has thrown up. Book craftsmen still deny photog- 
raphy the right to form any part of a “beautiful book.” They base their 
objection on the alleged aesthetic dichotomy between the purely graphic 
and material form of type and the more visibly “plastic” but materially 
weaker halftone block. They see the greatest importance in the outer 
appearance of both printing surfaces, and find the halftone block not 
“pookish.” Their objection is really not valid, since the halftone block is 
composed of many little raised dots, to which type is in fact related. 

All these theories, however, especially after the war, have been unable to 
stop the unique triumphal progress of photography into book production. 
Its greatest purely practical advantage is that by a simple mechanical 
method — certainly easier than any manual method — a true reproduction 
of an object can be obtained. The photograph has become such a remark- 
able characteristic of our age that it is now impossible to imagine its non- 
existence. The picture-hunger of modern man is satisfied today chiefly by 
photo-illustrated newspapers and magazines; and advertising, especially in 
the USA, including more and more the poster, is making ever-increasing 
use of photography. The great demand for good photography has advanced 
photographic technology and art to an extraordinary degree: in France and 
America there are fashion and advertising photographers who surpass 
many painters in quality (Paris: Paul Outerbridge, O'Neill, Hoyningen- 
Huene, Scaioni, Luigi Diaz; America: Sheeler, Baron de Meyer, Ralph 
Steiner, Ellis, and others). The work of the mostly anonymous photographic 
reporters is of the highest standard: their pictures, not least in purely pho- 
tographic terms, often give more pleasure than the allegedly artistic prints 
of professional portrait photographers and amateurs. 

It would be absolutely impossible today to satisfy the enormous demand for 
printed illustrations with drawings or paintings. There would be neither 
enough artists of quality to produce them, nor time for their creation and 
reproduction. Without photography we would never know very much of 
what is happening in the world today. Such an extraordinary consumption 
could never be satisfied except by mechanical means. General social con- 
ditions have changed considerably since the middle of the 19th century, 
the number of consumers has grown enormously, the spread of European 
urban culture has greatly increased, all means of communication have 
advanced, and these changes demand up-to-date processes. The medieval 


87 


woodcut, worshipped as an ideal by book craftsmen, is now obsolete and 
can no longer satisfy our demands for clarity and precision. 

The special charm of photography lies precisely in its great, often miracu- 
lous, clarity and its incorruptibility. As a consequence of the purity of its 
appearance and of the mechanical production process, photography is 
becoming the obvious means of visual representation in our time. That pho- 
tography by itself, even almost accidental photography, is an art, may be 
disputed. But does art matter, in every case when photography is used? 
Straightforward and often completely inartistic photography is often all we 
want from reporters or photographers of objects: because what is wanted 
is information in visual form, not art. Where higher requirements exist, a 
way to satisfy them will be found. However little photography at the 
moment is an art, it contains the seed of an art which must of necessity be 
different from all other art forms. 

On the borderline of art is the “posed” photograph. The effects of lighting, 
arrangement, and composition can come very near to fine art. A simple 
example is the whole-page advertisement in the Paris magazine Vogue 
shown opposite. It is remarkable purely as a photograph, but also espe- 
cially interesting as an advertisement, since no lettering is used except that 
on the objects photographed — yet the result is perfect and successful. 
There are two forms in which photography can become art: photomontage 
and photogram. By photomontage we understand either an assembly of 
separate photos which have been mounted together, or the use of a photo 
as one element in conjunction with other pictorial elements (photo- 
drawing, photo-sculpture). There are many overlaps between these meth- 
ods. In photomontage, with the help of given or selected photographs, a 
new pictorial unity is created, which, being deliberate and no longer acci- 
dental design, has an axiomatic claim to the title of art. Naturally not all 
photomontages are works of art, any more than all oil-paintings. But the 
works in this medium of Heartfield (who invented photomontage), 
Baumeister, Burchartz, Max Ernst, Lissitzky, Moholy-Nagy, Vordemberge- 
Gildewart, certainly deserve that title. They are not random assemblies but 
logical and harmonious constructed pictures. An ordinary photograph 
starts with accidental form (grey tonal values, structural effect, movement 
of line) but achieves artistic meaning from the composition of the whole. 
What differentiates photomontage from previous art is that the object is 
missing. Unlike earlier art it is not a statement about an objective fact but 
a work of imagination, a free human creation independent of nature. The 
“logic” of such creation is the irrational logic of a work of art. Photo- 
montage achieves a really “super-natural” effect through the deliberate 


52 nape et res 


ihe sis 
i i= . = 


Saas 


Whole-page photo-advertisement (without any additional lettering) from the 
French periodical Vogue. 1926. 


contrast of plastic photographs against an area of dead white or colour. 
This effect could never have been achieved by drawing or painting. The 
possibilities of contrast in size and shape, in closeness and distance of 
objects represented, and in flat or three-dimensional form, allow infinite 
variations in this art-form, making it highly suitable for thoughtful advertis- 
ing. It is only rarely that a “work of art” will emerge through the balance 
achieved by relating each individual part to equilibrium in the whole — 
because the restrictions imposed by the necessary logical consistency of 
the whole, the logic of size, the given type, etc. can be very inhibiting. In 
any case the commercial artist's job is not to create a work of art but a 
good advertisement. It may, or may not, be both. In the field of advertising 
photomontage, among the best examples are the Malik book-bindings by 


MAX BURCHARTZ: 
Jacket of a folder for 
leaflets. Silver back- 
ground, white lettering 
on red. Photomontage: 
reproductions of typical 
products of the Bochum 
Association. Format 

DIN A4. 


ane 


vias 


John Heartfield and the industrial advertisements designed by Max 
Burchartz. 

We show here a good example: the cover of a folder for industrial leaflets 
designed by Burchartz. The illustration sadly gives only a hint of the intense 
and rich effect of the original. Further examples of photomontage will be 
found elsewhere in this book. 

Photograms are photos created with the use of light-sensitive paper with- 
out a camera. This simple technique is not new; photograms of flowers, for 
example, made by simply laying the object on photographic paper, have 
been known for a long time. 

The inventor of the photogram as an art form is the American Man Ray, now 
living in Paris. He published his first works in this field in 1922 in the 
American magazine Broom. They reveal an unreal, supernatural world cre- 
ated purely by photography. These poetic images have nothing in common 
with reporters’ or ordinary photographers’ work, with which they have as 
much connection as poetry has with daily speech. It would be naive to call 
these productions either accidental or clever arrangements: any expert will 
recognize the difference. In them, the potentials of autonomous photogra- 
phy (without camera) have for the first time been realized in pure form: by 
the use of modern materials the photogram has become the modern poetry 
of form.® 

Photograms, too, can be used in advertising. El Lissitzky was the first to 
make photogram advertisements, in 1924. A splendid example of his work 
in this field is the photogram for Pelikan ink (see opposite). Even the let- 
tering is photo-mechanical.°® Although the mechanics of making a pho- 
togram are simple, they are nevertheless too complicated to describe in a 
few words. Anyone who sets himself such a task will, by his own experi- 
ments, find a way to achieve the desired effect. All that is needed is light- 
sensitive paper and a darkroom. We may mention here the book Malerei, 
Photographie, Film by L. Moholy-Nagy, which deals with this subject at 
length and most instructively. 

The typographer who has to integrate halftone photographic blocks with 
given type must ask what typeface should be used in these conditions. The 
pre-war artists who rejected photography, as | described above, tried to 


® Two of Man Ray's photograms are shown on pp. 48 and 49. 

©® Only an unthinking observer could argue that the use of roman type for one word in this pho- 
togram was illogical. The desire to use simple means for the design led to the use of a non- 
manual standard type — a stencil letter, which had to be in roman because stencil sanserif is not 
yet available. 


solve this problem but could not do so because they regarded all combina- 
tions of type and photos as compromise. 

We today have recognized photography as an essential typographic tool of 
the present. We find its addition to the means of typographic expression an 
enrichment, and see in photography exactly the factor that distinguishes 
our typography from everything that went before. Purely flat typography 
belongs to the past. The introduction of the photographic block has 
enabled us to use the dynamics of three dimensions. It is precisely the con- 
trast between the apparent three dimensions of photography and the plane 
form of type that gives our typography its strength. 

The question, which type should be used with photographs, used to be 
answered in the most obvious way by choosing type that looked grey or 
was even printed in grey: also by using very thin or very individualistic 
types, and other methods. As in other kinds of work, the solution was 
superficial. reducing everything to one level: everything became a uniform 
grey, which hardly concealed the compromise. 

Uninhibited and so contemporary, the New Typography found the solution 
at once. Since its aim was to create artistic unity out of contemporary and 
fundamental forms, the problem of type never actually existed: it had to be 
sanserif. And since it regarded the photographic block as an equally fun- 
damental means of expression, a synthesis was achieved: photography + 
sanserif! 

At first sight it seems as if the hard black forms of this typeface could not 
harmonize with the often soft greys of photos. The two together do not 
have the same weight of colour: their harmony lies in the contrast of form 
and colour. But both have two things in common: their objectivity and their 
impersonal form, which mark them as suiting our age. This harmony is not 
superficial, as was mistakenly thought previously, nor is it arbitrary: there is 
only one objective type form — sanserif — and only one objective represen- 
tation of our times: photography. Hence typo-photo, as the collective form 
of graphic art, has today taken over from the individualistic form 
handwriting-drawing. 

By typo-photo we mean any synthesis between typography and photogra- 
phy. Today we can express ourselves better and more quickly with the help 
of photography than by the laborious means of speech or writing. The pho- 
tographic halftone block joins letters and rules in the compositor’s case as 
a contemporary but differentiated typographic element in design. In a 
purely material sense it is also basically similar, since, at least in letterpress 
printing, it shares the same kind of relief printing surface and type-height. 
In the modern printing processes of gravure and offset-litho this is not so: 


92 


EL LISSITZKY 1924: Photogram (advertisement) 


here a completely opposite kind of material form does not support any sup- 
position of inequality. 

The integration of halftone blocks in typesetting is a condition of good 
typography and harmonious design. Since we of today do not recognize the 
old book-designers’ rejection of photography in book production and the 
luxury-concept of the “Book Beautiful” belongs to the past, the modern 
book designer sees the photographic block as equal in value to type in the 
production of fine books. A splendid example of typo-photo in advertising 
is shown facing, designed by Piet Zwart. Here also is a photogram used for 
publicity (paper-insulated high-tension cables). The word “High” begins 
with a tall H, the word “Low” with a small L. The balance of the chosen 


93 


PAPER. 


INSULATED 


HIGH TENSION CABLES 


INK FE 


BINS Ge eA IN ES Gi, 
(hABE EZ FABRILEK 
LOE t (HOLLAND) 


PIET ZWART (Holland): Advertisement leaflet. Black and red on white. Format A4. 


94 


types and the areas of black and red are superb and the whole is a com- 
position of enchanting beauty. The two red rules show how the effective- 
ness of a photo can be increased by the use of colour. Equally, the flat red 
area of the bold L contrasts well with the delicate plastic forms of the pho- 
togram. The typography and the photo echo each other: the centre of NKF 
with the centre of the cable cross-section, the red lines of type with the 
cable circumference, and so on. 

It can be affirmed that typo-photo is one of the most significant means of 
graphic expression in today’s typography and advertising. It will not be 
long before the popular forms of typo-photo, particularly in newspapers 
and some advertising, by means of conscious and logical contemporary 
design, reach the cultural highlights of the present time. 

The enormous possibilities of photography itself have so far hardly been 
recognized, outside a small group of a few specialists, and certainly not 
exhausted. There is no doubt that the graphic culture of the future will 
make a far greater use of photography than today. Photography will be as 
expressive of our age as the woodcut was of the Middle Ages. For this rea- 
son it is absolutely necessary for every graphic professional, even today, to 
develop creatively all the techniques of photography and reproduction as 
far as possible and prepare them for the higher demands that will surely be 
made of them in the near future. 


SASCHA STONE: 
Advertisement 
(photomontage) 


. en, FFT AOE, ct ce TY 
ete ep eT eee Se | 


jf) @BATSCHARI 


CIGARETTES 


95 


NEW TYPOGRAPHY AND STANDARDIZATION 

The New Typography, in its concern to satisfy the needs of our own period 
and to make sure that every single piece of printing is in harmony with the 
present, has always taken the greatest interest in every move towards stan- 
dardization. The need for standardization, in whatever area, derives from 
the problems of today, which it aims to solve. 

The use of standard practices in the book trade is therefore an integral 
necessity in modern typography: no piece of printing can be called satis- 
factory if it ignores such an outstanding element in the organization of 
book production. It is indeed an economic necessity. 

This applies above all to formats, where for a long time the lack of stan- 
dardization has been conspicuous. Choice of format used to be made pri- 
marily on aesthetic grounds, but must now be revised and made on higher 
grounds, because of the enormous increase — in the 19th and especially 
the 20th centuries — in the amount of printed matter. Until now the ratio- 
nalization of paper sizes played a minor role, since the number of pieces of 
printing was so much less. Each document and piece of printing was indi- 
vidually planned: the result, to our eyes, often makes them appear to be 
art-objects of their time. The personal taste of the author, and chance, 
determined their format. Sheets of paper were made by hand singly in var- 
ious sizes; but parchment sheets depended entirely on the size of the skin 
and could never be planned in advance. 

The resulting chaos was recognized by forward-looking minds. Already in 
1796 the German Lichtenberg recommended the introduction of some kind 
of standardization. Lichtenberg proposed a basic rule that formats should 
always be decided by successive halving of the original sheet size. 

In the early years of the French Revolution the principle that he discovered 
was given partial recognition, for the French authorities made a rule about 
the formats of official documents and forms that, in mathematical terms, 
every page size should be in the proportions of 1:V2 or 1:1.41. The French 
linked this with the metric system they had just introduced, and by order- 
ing the original size of sheets to be 1 m? and the proportions to be 1:V2, 
they arrived at exactly the same scheme as today’s A-series in DIN for- 
mats.® But the French attempts to introduce standardization had no perma- 
nent result; it was not until the 20th century that the great research scien- 
tist Wilhelm Ostwald, through “Die Bricke” (The Bridge), the international 
institute founded by him and K. W. Buhrer in 1912 in Munich, made a new 


® DIN = Deutsche Industrie-Normen 


96 


advance in regulating format sizes. Ostwald likewise proceeded from the 
Lichtenbergian principle of constant ratio but depended on measuring in 
centimetres. The proposed “World-formats,” to be adopted worldwide, did 
not however win many friends; probably because the main format 230x320 
mm (letterheads) turned out to be rather unpractical. Nevertheless the 
work of “Die Brucke,” whose work was interrupted by the war, had the very 
great merit of making people think. The publications of “Die Brucke” are 
among the most interesting studies in this field. 
Soon after the war the German Standards Committee introduced the met- 
ric-based DIN® 476 paper standardization system. It was evolved after 
lengthy discussions involving government departments, business interests, 
printers, and paper merchants and manufacturers. Government and indus- 
try agreed that DIN formats were to be the basis for all questions of format. 
The new DIN system has now for some time replaced the old “folio” system. 
The old “quarto format” is also disappearing. 
DIN formats are being used not only in Germany but also in many other 
European countries. Everyone concerned in the ordering or production of 
print should now use only DIN formats, which have the following advan- 
tages, among others (from the book Formate und Vordrucke): 
FOR THE USER: 
Paper ordering will be simpler and cheaper. 
The storing of all printed matter will be easier and more practical. 
Organization in the paper trade will be more sensible, and as the 
manufacture of large quantities will now be easier, paper must 
become cheaper. 
FOR THE PRINTER: 
Paper ordering will be easier. 
DIN formats allow simultaneous printing in different sizes, leading to 
better use of machine time — also a saving of time and materials in 
the composing and machine rooms. More productivity will be 
achieved in the bindery owing to repetition of identical sheet sizes. 
FOR THE TRADESMAN: 
Unnecessary investment in seldom-used sizes will be avoided. 
Fewer paper sizes will save space in stock rooms; attention to cus- 
tomers will be speeded up. 
Price lists will be simplified. 


The specification sheets of DIN 476 and 198 follow. with the approval of the German Standards 
Committee (DIN). The latest authoritative Standard publications are obtainable from Beuthverlag. 
Berlin S14, Dresdener Strasse 97. 


97 


| 


VON DEM 
BALLAST DER 
MECHANISCHEN 


Sl 


IET ZWART: Page of advertising leaflet. Format A6. 


oO 
= 
O 
c 
O 
a. 


asis 
der 


FOR THE MANUFACTURER: 

The number of uncut sheet sizes and roll-widths will be decreased. 

Manufacturing will be cheapened, storage simplified. In quiet periods 

storage can be undertaken (cheaper buying). 

Price lists will be shorter and simpler, complicated supply calcula- 

tions greatly simplified. 

The number of different printing and paper machines required will be 

less. 
Besides a showing of the different sizes in the DIN 476 range and the rel- 
evant explanations, we give in the following pages a reduction of the DIN 
198 standard with instructions for use in the A-range. 
In any case, all those who manufacture and use printed matter would not 
merely make use of the standard formats but also examine, and use, all the 
other standardizations in the book trade, on which the second part of this 
book gives information. Only then will the standardization programme in the 
book trade make sense. 
Finally we would like to quote some passages from an essay by Dr Engineer 
E. H. Neuhaus, published in no. 23 (November 1926) of the Ze/tschrift fur 
Deutschlands Buchdrucker: “| feel obliged to give double and treble 
emphasis to my prayer to our leaders of industry, that they use the full 
weight of their influence to introduce the DIN standards in their busi- 
nesses. We can no longer, in fairness to the reputation of our work, put up 
with lame excuses of any kind, but must ensure, as German engineers, that 
the results of our long and wearisome efforts come to fruition to help 
German trade. Production and distribution of goods are not ends in them- 
selves. They both make sense only when they make it possible for every cit- 
izen to receive the goods in the greatest quantity and the finest condition. 
And standardization is justified when the goods become better and 
cheaper. The fact that standardization is a guarantee for the raising of qual- 
ity and lowering of prices can no longer be ignored. “It depends entirely on 
ourselves whether we want to accept this fully recognized principle in our 
business. 
“It is useful to observe the inhibitions that impede the introduction of these 
sound principles into our business. 
“First, of course, there are the inhibitions arising from the self-interest that 
gains from ignoring the principles of standardization. Where self-interest is 
enriched by the increased cost of products, and thereby deceives and mis- 
leads people, it must for everyone's sake be fought. But there are also inhi- 
bitions which come not from an antisocial attitude but from an instinctive 


100 


Papierformate 


Rei 


© 
ss 
® 
A 
Q. 
> 
® 
® 
OS 
® 


Bezeichnungsbeispiel 


Das Format 216297, Klasse 4 der Vorzug- 
relhe A, heift 


Format A 4 


Die Abmessungen geiten ale Gribimas6be, 
Toleranzen sind nach unten zu legen und auf 
dae duBerste zu beschranken. 


mm 


mm 


Als Fertigformete flr alle unabhingigen 
PapiergréBen, wie Zeichnungen, Akten, Ge- 
schaftpapiere, Betriebvordrucke, Karteikarten, 
Werbsachen, Zeitschriften, Zeltungen. BUcher, 
gelten die 


Formate der A-Reihe 


Einzelheiten sind folgenden Normbidttern zu 

entnehmen: 

DIN 198 Paplerformate — Ahwefdungen der 
A-Reihe 

OIN 676 Geschdftbrief — Format A4 

DIN 682 Rehmen flr Bilder und Tafein 

DIN 820 Normbilatt —~ Abmessungen und Aus- 
gestaltung 

DIN 823 Zeichnungen — Formate, Mafstabe 

DIN 824 Zeichnungen — Faitenauf A4fUr Ordner 

DIN 825 Schildformate 

DIN 826 Zeitschriften — Format A4, Satzspregel, 
Oruckstockbreite 

DIN 627 Papier (Normalpapier) - Stoff. Festig-. 
keit, Verwendung 

DIN 829 Buchformate 


0 
wo 
J 
x 
> 
~ 


oO 


136 =< 192 


FUr abhdngige Paprergriben. wie BriefhUlien. 
Ordner, Mappen. gelten die 


Formate der Zusatzreihen B, C, D 


: 
i 


Einzelheiten sind folgenden Normblattern zu 
entnehmen 
DIN 678 BriefhUlientormate 
DOIN 680 Fensterbriefhullen 
DIN 828 Mikrophotographische Bilder 
DOIN 829 Buchformete 


Juli 1925 2 Ausgabe (erweitert) 


101 


feeling that here is a circumstance which will make our inner life poorer, 
more one-sided and less desirable. But when we look closer into this we 
see that man can only develop his personality in the present state of civi- 
lization and culture if he stops wearing himself out in an unprofitable strug- 
gle against useless detail but makes himself free to find the time and 
means for developing his true personality. 

“We must be clear that countless things today in their ill-founded and 
largely inappropriate complexity are not at all the result of an earnest striv- 
ing to form a personality, but simply the product of a far-reaching and arbi- 
trary thoughtlessness in manufacturers and consumers. We must further 
accept that the overwhelming number of objects of daily need are easier to 
cope with under the law of pure expediency than under the demands of 
personal taste. 

“All the objections that make bogeys out of sensible and tasteful discipline 
fall apart when we examine them. It is no less than a deception of public 
opinion when it is said that unplanned production has more personal value 
than the production of goods on an honest functional basis and by the col- 
laboration of manufacturers and consumers.” 


102 


EXPLANATIONS (to DIN 476 page 2) 


BASIC PRINCIPLES 


1. FORMULA OF HALVING RANGES 

Each consecutive format evolves 
through doubling or halving the 
previous one. 

The areas of both formats relate as 1:2. 


b> 


2. FORMULA OF SIMILARITY IN RANGES 

The formats are similar to each other. 
Nos. 1 and 2 in the range give, for the two 
sides of x and y of one format, the propor- 
tions X:Y = 1:V2 ==> 


Both sides are therefore in proportion to 
each other as the sides of a square are to 
its diagonal. => 


3. FORMULA OF CONNECTED RANGES 

The formats are connected to the metric 
System: the area of the basic norm equals 
the area of a square metre, i.e. x X y= 1. 


103 


(Continuation of explanations to Norm DIN 476) 


ORIGINAL FORMAT 
For the original format with sides x and y the same two equations app 
because of the above 3 principles x:y = 1:V2 
Xx x< y=] 
The original format, rectangle with area of 1 m?, has sides of 
x = 0.841 m y= 1.189 m 


ORIGINAL RANGE A (Preferred range) 
Following equation 1, the range in original format continues by consecuti 
halving to make original range A. 


ADDITIONAL RANGES B CD 

For connected paper sizes, e.g. envelopes, booklets, wallets, etc., the add 
tional ranges B C and D are listed. The B range formats are the geometr 
means of the A range. The C and D ranges are again the geometric mear 
of the A and B ranges. 


STRIP FORMATS 
Strip formats are made by halving, quartering, etc. the main format lengtt 


Abbre- 


Format atin 
viation 


Half length A4 105 >< 297 
Quarter length A4 52 < 297 
Eighth length A7 9 >< 105 
Half length C4 114 >< 324 
etc. 


Applications: Envelopes, labels, tickets, coupons, technical drawings, etc. 


104 


Papierformate nach DIN 476 


Anwendungen der A-Reihe 


Abmessungen 
der Formate 


mm 


AbreiBkalender, Blocks. . . . 
Unterlagen . . 


Anlagemarken 
Bescheinigungen .. . 
Bestellizettel 
Besuchskarten . 
Betriebsvordrucke 
Brief Elnheltebriof—=Akte 

» ° Helbbrief . 
Bucher (Broschiren) 
Durchschlagpapier 
Einheitsbrief 
Fahrpldne 
Fernsprechbucher. . 
Fotogramme, technische . 
§ GeschaftsbUcher 
Geschiftspapiere . . 
Karteikarten 

Kataloge 

Klebemarken 

Klebezettel 
Kostenanschldge 
Kurvenblatter . 
Landkarten 

Mitteilung Helborief 
Normblatt (s.0IN 920) .. - . 
Notizblocks und Notizzettel 
Paketadressen (zum Aufkleben) 
Patent-u. Musterzeichnungen 
Piakate 

Postkarte 

Preislisten 

Quittungen . 

Rechnungen 
_Rundschreiben 

Scheck (e. DIN 679) 
Scheckkontenverzeichnisse 
Schilder (s. OIN 626)... 
‘Tabellenblatter 
TaschenbUcher 
Versandanzeigen und -zettel 
Vorschriften 

‘Werbsachen 

Zeichnungen (s.01N 823) 
Zeitschriften (s.01IN 826) . . . 
Zeitung 


Oktober 1993 


PPLE TTT TT TT LL TT [2 | 994x841 
RORAE RRA RERERE 
EEE ETE 


REL at ETT ET 8 [241 189 
BERR EGRE 


& 
D 
N 
x 
o) 
|A4 
|A4 
|A4| 
|A4 
[A4| 
LI 
[A4 
ee 
[A4| 
Lig 
|A4| 
|A4 
|A4 
[A4| 
wi 
[AZ| A4 
[ABI A4| 
| A4 
| AS 
el Be 
Ce 
|_| AS! 
JA3IA4 
LAS} A4| 
an a 
|__A4| 
| ASI 
ae ae 
[A3IA4! 
[A31A4) 
pa] 
| JAS 
fmt De 
| AS 
| | A4! 
a es 
| | A4 
|A4| 
|__| 
[A 4 
|A4| 
[A4| 


S 
nN 
x 
ee) 
+ 
[AG 
[AB 
|AB| 
i 
|A6| 
| | 
a 
JAS) 
a 
[AB 
|A5| 
[AS 
= 
[A5, 
[AB | 
[AB 
[AS 
[AS 
a 
= 
ees 
|A5| 
ra 
|A5| 
|AB| 
| 
[AS 
ea 
|A5| 
[AB | 
[AG 
|A6| 
a 
|A5| 
[AG 
|A6| 
|AS| 
[AS 


Ba 
w/w 


Bel Bedarf kann die 
Anzaht der vorge- 
sehenenGrédben durch 
Formate der gleichen 
Reihe vermehrt oder 
verringert werden. 


Schmale Formate 
(flr Fahrscheine, 
Listen, Schilder, 
Streifen, Zinsscheine) 
werden durch Langs- 
hilften,Langsvierteln, 
Langsachteln usw der 
A-Formate gewonnen. 


BriefhUllen 
(Reihen 8 und C) 
siehe DOIN 678 
Fensterbrief- 
hUllensiehe DIN 680 


Buchformate 
(Reihen A und 8) 
giehe DIN 829 


Aktendeckel, 
Hefter und Ordner 
werden der C-Reilhe 
entnommen: 

C4 299x324 
C5 162x229 


105 


(CONTINUATION of explanations to Norm DIN 476) 


PADS, INDEX CARDS, BOOKLETS 

With tear-off pads and duplicate-books, the pages detached must be in 
norm size, so the pad or duplicate-book will be taller or wider than the 
norm. 

Index cards without tabs are in exact norm sizes (A4, AS, A6, A7). Index 
cards with tabs are larger by the size of the tab. 

Booklets, wallets, and files are naturally wider than the norm-format sheets 
to be inserted in them. Their sizes should as far as possible be chosen from 
the four ranges. 


FURTHER AIMS FOR NORM FORMATS 

Since for some special purposes no norm sizes are yet fixed, the ranges A 
to D define limits for norms for (for example) sheets of paper, envelopes, 
office furniture, type areas, printing stock sizes, etc. The aim for these cir- 
cumstances is to establish special norms later. 


NORM FORMATS ABROAD 
DIN formats agree in general with standard formats in the following coun- 
tries: Switzerland, Austria, Hungary, Czechoslovakia, Holland, and Belgium. 


DINBOOK 1 
For exact derivation and history of formats and information on paper and 
printing technology, see DINbook 1, Papierformate (Beuthverlag GmbH, 
Berlin $14). 


106 


PRINCIPAL TYPOGRAPHIC CATEGORIES 


THE TYPOGRAPHIC SYMBOL 

A good symbol is usually, but not always, the expression of a unified design 
for advertising and manufacture. It must be original and simple in form, 
have a very high degree of memorability, and be easily recognized and 
noticeable. By no means every symbol has these characteristics, a proof of 
how difficult it is to design a really good symbol for a firm or a range of 
goods. A brisk propaganda for this elementary method of advertisement 
has resulted in a real flood of new symbol designs. So truly effective sym- 
bols are now doubly rare. 

Symbols are mostly designed and drawn today by graphic artists. These 
drawn designs have no technical restrictions except that as a rule they 
must be in black and white, without halftones. 

A symbol need not be only drawn. It is also possible to design symbols, 
sometimes even more effectively, by using typography. The advantage of 
such “typo-symbols” are: no block costs, the facility for reduction and 
enlargement, and the strength inherent in all things whose appearance 
comes from a technical manufacturing process. The means available to the 
printer for designing symbols are the typographic contents of the 


KURT SCHWITTERS: Symbol for the word Pelikan 


109 


JOHANNES MOLZAHN: 
Type-symbol for the Wilhelm Heunert 
Soest lronworks 


composing-room: rules, straight and curved, geometrical shapes, letters 
and — not least — imagination. Without that, even the latest materials and 
types are of no use. 
A symbol either brings letters together to make a new form, or illustrates 
the product, or does both. The effect of the Pelikan symbol depends on the 
use of the simplest type-forms in strong contrast and movement. The 
“Heunert” symbol is a representation of the firm’s products, made out of 
the initials of the firm’s name. With the initial of the forename Piet and the 
black square (“Zwart” is the Dutch word for the German “Schwarz,” black) 
an unforgettable device is made. Herbert Bayer’s design for a glass-painter 


HERBERT BAYER: 
Symbol for a glass-painter/artist 


110 


represents, like the Heunert symbol, the client’s profession with an ab- 
straction of a window frame. 

Although it would be good to see printers turning more and more to the 
design of symbols, a warning must be given against the use of type alone 
(i.e. monograms) for this purpose. A symbol is something completely dif- 
ferent and of higher importance than a monogram, and a faulty symbol is 
far worse than none at all. Printers today are often tempted to use a type 
monogram in place of some previous ornament. But in advertising, only a 
true symbol is suitable; monograms today do not make sense. A monogram 
as the symbol of a product is always worse than a proper symbol. And a 
bad symbol can be disastrous to a product. For this reason it is better not 
to substitute a monogram for a symbol, when there is not enough time to 
design a symbol, but to use simply type. 

In any case the design of a type symbol gives the printer the opportunity of 
a fascinating and welcome job, and the difficulties of making a good sym- 
bol should only be a stimulus to their overcoming. 


PIET ZWART: Personal mark (type-symbol) 


THE BUSINESS LETTERHEAD? 

A letterhead is one of the most important tasks for the jobbing printer and 
deserves the most careful attention. 

Even today most letterheads are produced in the most varied styles and 
sizes. A collection of contemporary business letterheads would show most 
of them in the old quarto format, some in miscellaneous “private” sizes, and 
a small minority in DIN formats. The variation in sizes of the old letterheads 
was because no recognized standard sizes existed. 

The letter is not only the most important instrument of business communi- 
cation. More than this, it often contains price offers, contracts, and agree- 
ments which can make critical its retrieval from the file in which it is placed 
after arrival. Thus the letter becomes part of a multiplicity, i.e. of a corre- 
spondence. Without order, such a multiplicity becomes unmanageable. The 
old quarto and the various other unique formats, among which the old folio 
format was an attempt at standardization, were — because of all their dif- 
ferent dimensions — difficult if not impossible to file and therefore find. 

So the first requirement for the expedient design of business letterheads 
was the laying down of a single format. This was achieved by the Standards 
Committee in the 476 Standard. For business letterheads the most suitable 
format is A4 (210 x 297 mm), a practical and pleasant size. The authorities 
have used it for many years for government documents, instead of the old 
folio sizes, and businesses are now using it more and more. Even private 
individuals are now going over to it. A4 is a bit deeper than the old quarto 
size and is the same width as folio. It fits comfortably into the old filing 
systems. 

A letterhead designed in the New Typography (in old quarto format) by 
Theo van Doesburg is shown here as an example of a standard but other- 
wise contemporary heading. At the time it was made, the standard DIN 
sizes were not yet recognized, and France, where this letterhead was orig- 
inated, has not yet joined with the other European countries that have 
introduced it. 

The old formats will presumably remain in use for some time to come, so 
Our example can be justified. 


® In the following sections of this chapter we are grateful to the German Standards Committee 
(DIN) for permission to reproduce the illustrations. The latest edition of the DIN forms should be 
consulted and is obtainable from Beuthverlag. Berlin S14. Dresdener Strasse 97. 

The booklet Formate und Vordrucke is also available from this publisher, providing a useful exten- 
sion of the present work (price 1.20). It is frankly of astonishingly low typographic quality and 
the examples shown should not be used as models. But the usefulness of both publications ts not 
in question. 


112 


on 


(azIs paepuezs Ul JOU) pesys93397 :-DYNSIOM NVA O3HL 


| q 


ADMINISTRATIE EN REDACTIE: KLIMOPSTRAAT 18, DEN HAAG (HOLLAND) 
VERTEGENWOOR DIGING TE ROME.PARIJS.MILAAN, ANTWERPEN.WEIMAR 


G1 N3a DUNBSIOA NVAOBHLUNAIDZVO3RH 
2N1Q17338 3MNN|BIN Y3O NYYONCS 


a a 
| 
{ 


But the A4 format (210x297 mm) should be used in all new work. It has the 
advantage of being the same size as nearly all new business literature, 
periodicals, etc., with which it will be sent out. It can hardly be thought 
that the old formats are in any way better or more attractive than the new. 
When A4 is found to be too large for private use (which is however hard to 
justify), A5 (148x210 mm) can be used upright or horizontal. 


Component parts of DIN letterheads 

Besides the format, there are also standards for the placing of the compo- 

nent parts of business letterheads, e.g. the size of the space for the firm’s 

name, and so on. 

The authority for all these standards is DIN sheet 676: we show examples 

on the following pages. 

Standards exist for: 

1. The position of the address, on the left, because once the letter has 
reached the addressee, it has served its purpose and can therefore be” 
placed in a relatively unimportant position close to the margin. 

2. Position for receipt- and treatment-marks (receipt stamp etc.), on the 
same level, on the right. This space is more important than the address, 
and must be easy to find and read. 

3. Sequence and position for the four main pieces of information: your ref., 
your letter of, our ref., date. The advantage of the standard over the pre- 
vious methods is that these can all be typed in one line (beneath the 
headings). Earlier, such information was usually set in a column, requir- 
ing endless readjustments of the typewriter. The standard avoids this 
nicely, in that neither the height of the line nor the beginning of the 
treatment-marks is in the way of careful entries. The form also ensures 
that these items are not overlooked. 

4. Sequence and position of the firm's particulars: sender's address, tele- 
graphic address, telephone, business hours, etc. It is a main failing in 
most of the old “artistic” letterheads that the visibility and clarity of 
these details was sacrificed to the “artistic” effect. In many of the old 
letterheads these particulars occupied several long lines: the individual 
groups were not clearly distinguished from each other; when looking for 
a particular item one had to read through the whole lot. In standardized 
headings these items are clearly arranged in specified positions. The 
standardization of the sequence is another advantage. 

5. Side margin of at least 20 mm. In older letterheads this margin was often 
ignored. This continued not to be noticed because in those days letters 


114 


Geschaftsbrief 
Format A 4 (210 < 297) 


|[<-——62-- >| 
Faltmarke ! 
Ablegewort !) 


20 Firma 
KleinstmaS 


Erzeugnisse Abbildungen usw 


dea Absenders Postanschrift Orahtwort Fernruf Geechaftzeit Banken 


Anschrift des 
Empfanagers 


Ihre Zeichen Ihre Nachricht vom Unsere Zeichon 


Betreft 


~ [Taltmarke 3: 


Leitsdtze fir dea Bricfvordruck 


1 Die Linien deuten lediglich die Abgrenzung der einzelnen Felder an; auf dem 
Geschaftsbrief selbst sollen nur der Heftrand (modglichst auch auf der Riach- 

i seite, dort rechts), SchluB-, Falt- und Lochmarken sowie das Anschriftfeld 

Lochmarke * durch feine Linien, Eckzeichen, Punkte usw kenatlich gemacht werden. 


Unbedingt einzuhalten sind 
ein Heftrand von mindestens 20 mm 
Lage und Abmessungen der Felder far Anschrift des Empfangers, far 
Eingangvermerke und fdr des Absenders Postanschrift 
die Reihenfolge der Post- und Geschdftangaben (Fernruf, Banken) 
die Reihenfolge der Zeichen- und Tagangaben. 


Nur die unterstrichenen Inschriften sollen wOrtlich oder sinngem&B abgedruckt 

werden. Die anderen Inschriften haben lediglich erlauternden Zweck, 
Faltmarcke 2 

In der Zeile fir Post- und Gesch&ftangaben (Fernruf, Banken) kéanen einzelne 

Angaben weggelassen oder neue zugefitgt werden. 


Es ist empfehlenswert, die Leitworte fdr Zeichen- und Tagangaben so zu 
setzen, daf die zugehérigen Eintragungen nicht daneben, sondern darunter 
erfolgen, um wiederholtes genaues Einslellen der Schreibmaschine zu ver- 
meiden. Aus demselben Grunde sollte die Jahreszahl bei der Tagangabe nicht 
vorgedruckt werden. Unter ,,lhre Zeichen“ und ,,Unsere Zeichen" sind ARten- 
und Ansage- (Dixtier) Zeichen zusammenzufa3sen. 


(siehe Fortsetzungsblatt) 


Geschaftsbriefvordruck nzch DIN 676 


1) ZweckmaBig wird der Schriftwechsel nach den Einheits-ABC-Regeln abcelegt. 
Lochabstand 80 mm (nach Beschlu8B der Briefordnerkonvention), 
Geschiaftsbriefe, Halbbriefe Format A5 siehe DIN 677. 

Briefhillen siehe DIN 678. Fensterbriefhillen siehe DIN 680 


AusschuB fiir wirtscheftliche Verwaltung (AWV) 
Mai 1924 Fachausschu fir Burowesen Fortsetzung Seite 2 


115 


Seite 2 


Geschafttsbrief 
Format A 4 (210 < 297) 


Fortsetzungsblatt 
(zweites Blatt und weitere Blatter) 


om. Firma 
KleinstmaB Cotreff Empfanger 


6 Ist der Absendeort vom Sitz der Firma verschieden, so kann statt des vor- 
gedruckten Wortes ,,Tag" der Absendeort vorgedruckt werden. 


Der Betreff und Angaben aber die Art der Mitteilung (zB Auftragbest&igung) 
sind links oberhalb des Textes zu schreiben. Anlagen, Verteilvermerke, sowie 
Angaben aber die Art der Versendung (zB ,,einschreiben“) sind links unter 
dem Text anzugeben. — Die Unterschrift ist rechts unter den Text zu setzen. 


Die Lochung erfolgt zweckmé&fig im voraus. Die Lochmarke wird dadurch 
dberflassig. 


Auf dem Heftrand kénnen Druckvermerke (Auflagehéhe, Auflagetag), Blatt- 
gewicht, Felder far Gegenzeichnung usw aufgenommen werden. 


Falimarken Die Faltmarken sind nur zu drucken, wenn der Brief in Fenster- 
halle verschickt werden soll. 


Fortsetzungsblatt Unbedingt einzuhalten ist die Reihenfolge der An- 
gaben auf dem Fortsetzungsblatt und zwar auch dann, wenn far die Fort- 
setzungsbléiter Papier ohne jeden Aufdruck verwendet wird. Bei Anfertigung 
eines Vordrucks kénnen die Angaben ,,Firma“, ,,Betreff“ und ,Empfinger” 
“weggelassen oder neue Angaben zugefilgt werden. 


Dem Werbfachmann und dem Kanstler sind alle Freiheiten eingeraiumt, die 
den S&tzen 2 und 11 nicht widersprechen. 


Dinformat A4 Geschiftsbricfrordruck nach DIN 676 


116 


5. Side margin of at least 20 mm. In older letterheads this margin was often 
ignored. This continued not to be noticed because in those days letters 
did not need to be so systematically organized as they are today. 

A standardized letterhead, before it is written, often gives the impression 

that not enough room has been left for the letter itself. This is a deception, 

caused by the line of “your ref” etc. People forget that the address of the 
addressee goes above: the remaining space for the actual letter is larger 
than in many old letterheads. 


Typographic design of standard letterheads 

Printers must now find a typographic form that fits the standards for letter- 
headings and looks well. 

The necessary left-hand margin by itself points to an asymmetric design. It 
is really against sense, in order to achieve symmetry, to repeat the margin 
on the right purely for decorative reasons. Why should the details of a let- 
terhead be made hard to read? If the two punch-holes for filing are 
included, symmetry is in any case impossible (assuming that apart from a 
few snobs nobody writes a letter itself symmetrically. In general, the typog- 
raphy of the old letterheads took no notice of the fact that the letter as 
received would be written, signed, and folded. Only when it is a completed 
whole can it look beautiful!). 

The margin should not be marked by a fine rule or anything else, but should 
be left white. The lines of type begin on its left-hand edge, and aligned 
exactly below them the typing starts. In this way the typed letter has a 
pleasant and prominent white stripe (provided that the writing continues to 
the edge of the paper on the right, and does not stop 2 or 3 centimetres 
from it, which is quite unnecessary). 

The punch-holes can be made in advance, if desired, as the Standard rec- 
ommends, and it is even possible that the holes, as a conscious part of the 
design, can enrich the general effect. | find it desirable so to position the 
left-hand edge of the type matter that the holes are exactly in the middle of 
the white margin. That usually makes a margin of 25 mm necessary. 

The space for the firm’s name etc. should preferably be filled as completely 
as possible, the white spaces between the lines having the same weight as 
the black lines of type. The print not only can but should extend to the 
right-hand edge of the paper, leaving only one pica of space there. Only in 
this way will the left-hand margin have its full effect. There is also basically 
no reason for beginning the design more than one pica down from the top 


117 


of the page, but it depends on the shape of the main heading and the gen- 
eral design whether it is desirable to start so close to the top. 

Because the letter will finally be folded (asymmetrically, for standard win- 
dow envelopes) it is necessary, to achieve a good total effect, to relate the 
type-setting to the position of the folds, |.e. to avoid lines of type in the 
heading being on the fold-lines, and other vertical divisions (see the letter- 
head “Arbeitsgemeinschaft" on p. 120). For letters that are to be put in 
window envelopes this is vital: for letters sent in ordinary envelopes it is 
not vital, but the central fold-line must be observed. This fold-line is also 
important when we come to the firm’s particulars. It would be wrong, and 
against the whole principle of standardization, to set these details in long 
lines, as they used to be in the old letterheads. They should be placed in 
groups and in columns, rather than in continuous lines. 

It neither looks well nor is it clear to centre the lines in the individual 
groups. In an asymmetric design it would be a contradiction of style. The 
best solution for columns is to align them left, ragged right. These groups 
will usually go in two lines: the title (“sender's address,” “telegraphic 
address,” etc.) comes above, the information in the second line below (see 
the “Gebuhren-Rechnung” heading by Molzahn, p. 126). The groups can be 
separated by fine vertical rules if this seems necessary, but about 1 pica 
space between them should make further separation unnecessary. For 
example: 


The main division is shown in the centre of the page by a pica-wide white 
space that begins either to the left or to the right (better right) of the cen- 
tre (see the letterheads “Arbeitsgemeinschaft” and “das bauhaus in 
dessau”). The central dividing line should never be allowed to come in the 
middle of the white pica-space. 

To show a solution for more complicated groups of this kind, we give here 
a design for the letterhead of the Deutsche Werke with the groups in a bet- 
ter and clearer form. 


Postanschrift: Drahtwort : Deweka Telefon: Banken: Postscheckkonto: 
Kiel. SchlieRfach 152/162 (ABC-Code 5th Ed.) 6300-14 Kiel: Reichsbank Hamburg 36175 
Ingenieur-CodeGallaneé Vereinsbank 


Commerz - u.Privatbk. 
Berlin: Reichs-Kredit-Ges. AG 


A further problem is how to define the position of the window space for the 
address. The four corners of the space can be shown by angles I or points 


* unless it is desired not to use these means and indicate its position less 
directly. The latter is preferable. It is possible, if for example the line con- 
taining the sender's address can be continued to the page centre (which 
can often be done by abbreviation or judicious expansion — but also the 
next groups, telegraph address, telephone, etc., may be moved to the left 
half of the page) and the group “your communication of" can end at the 
middie (see the “das bauhaus in dessau” and “Arbeitsgemeinschaft” head- 
ings). The beginning and end of the address line and the beginning of 
“your ref” and end of “your communication of” will then themselves define 
the window. 

The address of the recipient is best written thus: 


An die Buchergilde Gutenberg 
Dreibundstr. 5 


Berlin SW 61 


The town name must for clarity be emphasized by a rule. (Do not letter- 
space; if need be use capitals, not letterspaced, for emphasis!) 

This method has the advantage that it is clearer and easier to type than the 
older method, in which for every line the carriage must be shifted to the 
right and cannot be brought back automatically. The beginning of the typed 
lines must align with the printed lines, to give an even and satisfactory 
appearance. 

For the same reason it is not recommended to surround the address area with 
a border, which would make perfect alignment of all the lines impossible. 

It is generally the case — and especially with letterheads — that printed 
matter looks better the less use is made of secondary matter such as rules, 
points, and so on. A letterhead is already a complicated typographic job 
whose clarity should not be hindered by trimmings. 

With the name of the addressee, the contents of the letter begin, aligning 
with the invisible vertical established by the print above. A typewritten let- 
ter looks stronger when the typed lines are “solid,” without spacing be- 
tween the lines. 

The end-point is best marked by a dot (see the “Arbeitsgemeinschaft” 
heading) rather than by a rule, which has no meaning and can be confus- 
ing above or below a word. 


ee 


Arbeitsgemeinschaft 


des Bayerischen Kunstgewerbevereins und 
des Munchner Bundes 


Fostanschrift: Munchen Akademie der Kunste 


Ihre Zeichen Ihre Nachricht vom 


Betreft 


Certgemed 24 10 20) Comer PA ctoer Pagrus aed Bib OPE 


€. 26. t000 


G.BESTELMAYR. Geheimrat SS Prasient der Akademie der bi:denden KGnste — 


__ _Direktor der Deutschen Werkstatten AG 


KARL BERTSCH 


Orv. PECHMANN ______ Abteilungsieiteram-Nationalmuseum——___—— 
O.RUCKERT. Oberstudiendirektor _ Maler_L iter. derSjact Maierachscrule——___—. 


WIE DERANDERS. O.-Studiendir__Leiter der Stact. Holzbearbeitungsfachscliu-o — 
—Geschaftsf. Verrauensmano._Architekt 


Fernsprecher 12345 Postscheckkonto Munchen 124205 


Unser Zeichen Tag 


JAN TSCHICHOLD: Design for a standard letterhead. 
A legible arrangement for the many names and titles. 
This design was turned down by the firm and the heading opposite used instead. 


120 


EnsterVorntrender GeheimratG BESTELMEYER, Architekt, Prasid.der Akademle der bUldend. Kiinste / Zweiter Vorsitrender KARL BEATSCH, Dir. der Deutschen 
Werkstatten/ Landesgewerberat JOS. LEIPFINGER/Dr PAULWENZ, Arch. / Professor EDUARD PFEIFFER, Arch./ Regierungsbaurat FRITZ GABLONSKY, 


Architekt/ Dr. von PECHMANN, Abteilungslelter am Nationalmuseum/ Oberstudiendirektor O,. RUCKERT, Maler, Lelter dStadtusch, Malerfachschule/ FRIEDR. 
HEUBNER, Maler/ Geschaftsfuhrender Vertrauensmann Oberstudiendirektor WIEDBRAN DERS, Architekt, Letter der Stadtischen Holtbearbeltungsfachschwe 


MUNCHEN 7 AKADEMIE DER BILDENDEN KONSTE +, TELEPHON 31690 


MUNCHEN, den 


ARBEITSGEMEINSCHAFT 


Anonymous: 


Example of a non-standard and poorly designated business heading. No one could read com- 
fortably the matter below the red rule. 


This design was printed, although the design opposite was offered to the firm! 


121 


The punch-hole mark is unnecessary 
1. when the letter is posted in an ordinary, not a window, envelope. It will 
then be folded once across and once down, and the middle point of the 
paper height (the punch-hole mark) does not need to be printed. 
2. when the letter has been punch-holed in advance, which happens only 
too rarely. 
Otherwise they must be printed, best in the form of a short one-point-thick 
rule printed on the margin. 
Fold-marks need to be printed only when window envelopes are to be 
used. They are usually short and fine dashes printed on the margin; but | 
find it better to use six-point figures 1, 2, 3, on the folding positions. As 
these are set right at the edge of the type matter, unprotected, it is better 
to get them made in brass. 
How little thought-out is the “Deutsche Werke” heading, however thor- 
oughly corresponding to the standard, is perhaps worth considering here. 
The formal idea is centred composition. But the left-hand margin has the 
effect of making the central device look pushed over to the right, com- 
pletely destroying the intended symmetry of the whole. The groups to left 
and right of the device are not truly symmetrical, and the groups beneath 
the unsightly heavy rule, each of which has been set centred, make a har- 
mony for the whole absolutely impossible. To this is added the unneeded 
indication of the margin by a dotted rule, the silly and totally superfluous 
two short rules beside “Kiel,” the amateurish marking of the address- 
window area, and the unsatisfactory end-mark. And why do the words 
“Dinformat A4 (210 x 297)” suddenly go across the margin? 
Such a defectively designed letterhead of course looks even worse when 
carrying a letter. It is very important when designing a letterhead to 
remember that the recipient will see the letter only when it has been writ- 
ten on. It is best to place the layout on a proof with address to test the final 
appearance. 
In spite of all the restrictions placed on the designer of a standardized let- 
terhead, it is indeed possible to produce an artistically faultless result. 
Anyone who does not believe this will not be able to cope with any other 
problems either. In any case, the letterheads reproduced here, and the 
numberless correctly standardized letterheads in my typography evening 
classes and courses at the “Meisterschule fur Deutschlands Buchdrucker,” 
prove that despite all limitations, excellent and typographically faultless 
solutions are possible. And should not difficulties be a spur? It is in any 
case possible that the rules given here for the typographic design of stan- 
dard letterheads may sometimes be broken, in order to achieve a harmo- 


122 


Heutfehe Werte Kiel Gffomet tinfoil 


¢ AKTIENGESELLSCHASFT 


Drahtanfhrift: Dewela Feen{[peeher: Atel: Nethebont - Vertinebant PoNfhedfonto: 


AUC-Code $. Eb, ¢lev le Commecy: und Peloatbant fambueg W157 
Kicl, EhMeBladh Ne. 139109 Ingenicuc-Code Gallens 


Berlin: Nsidse-Reedit-Os[eulhalt R..G. 


Jbee Jtidien Jhee NaGridt vom Unfere Abtetiang 


RetelMt. 


tone +e seen Ct . 
Dintorwmat “4 (210K 997) Gorcratipretenr tees sace CIM OF 


Standardized but not designed letterhead. 

Too many superfluous rules. An unhappy mixture of written and printed forms. The margin is obvi- 

ously no longer seen to belong to the letterhead, because otherwise one would certainly be forced 
to abandon the beloved principle of symmetry. Even so, the attempt to follow the principle through 
is only successful in parts: it proves here again that centred composition is uncontemporary. 


123 


das bauhaus in dessau 


“ 
@ 
c 
c 
2 
w 
& 
£ 
° 


dessau mauerstraBe 36 © fernruf 2696 ~~ cladt. kreisspark dessau 2634 @ postscheck magdeburg 13701 


Ce werkst&tten betinden sich dessau, seilersche fabrik 


ihre zeichen ihre nachricht vom unsere zeichen tag 
botreft 

s 

a» 

a 

a 

= 

7] 

2 

3 

3 

Fe 

 ] 

s 

2 

dina 4 versuch einer vereinfachten cchreibweise: 1. diese schroibweise wird von silen neverern der echrift ale unsere rukunftschrift empfohien. 

vergl.das buch ,.eprache und schrift’ von dr. porsimann, verlag des vereims deutschor ingenioure, berlin 1920. 2. durch kleincchreibung 
verliort unsere schrift nichts, wird aber leichter lesbar, teichter ternber, wesentlich wirtschaftlicher. 3. wsrum fur einen taut, z.d. a zwei 


zeichen A und a? ein laut cin zeichen. warum zwei alflabste far elm wart, warum dio doppelte menge zeichon, wenn dic hBlfte dasseide erreichi? 


HERBERT BAYER: Standardized letterhead. 1925. 


124 


nious design. This must be said, to comfort the doubts of those who are 
worried by the new problems they may now be facing. 

Invoices and order forms are treated also in DIN 676. Example: the invoice 
form by Molzahn (on the next page). 

Because the DIN formats have proved themselves successful, more and 
more firms are going over to them. Much can be done by the printing trade 
to help spread the knowledge of them: many firms, especially the smaller 
ones, still know nothing about them. 

A standardized letterhead will admittedly cost more than the ordinary kind 
because of the extra care and accuracy required. Their increased useful- 
ness will compensate for that. Unprinted stock, in standard sizes, can be 
stored and used for later jobs, which will save money. 


125 


met Das ropide, immer erreschrends Levensiompo, cer sasend¢ Verkenr, tte Ussumme dar Foon. 
Yeh eprwckungen jeder Sebunde, cle Zeit der Kioemes, gee Lufisisress, haben mich! nur ursaren 
U Denken nece Ferman gegaten, sie bebon such gig Prysie uns gong bescaders dee Auge tm 
A Sinne det Anpaseung und der Ohgnomie umgsiormt Gown dig AvinakmequsnliiSt ist In der 
S Leistungeftnighedt begrenzt Con Auge nimmt eden avs 423 Wesentiche avi. des Lobenstt:. 
EP derncs, die Senseilon der Erschelnung, olios was dem tedendigen Orlentiorungelieh unserer 
E Pezche entgegenbommt, und das hat eviner gant tlefen Grund in dam Lebengwiiien Cherhausl 
‘Kurz, das Auge Odsraleunt sus der Unreht der opticchen Relre nur ainen geringen Bruchteil, 
éetaen Masleratevmme in dee Leistungsgrenre ie suchen ist, 


‘Ferner. Commerz-u.Privat-Bank PostscHec«: 
FiN.40514 DEP.-KASSE HASSELBACHPL. MAGDEB.15949 


* 


430 


Brads MEHR MUSSER FRODUKTION 
UNO HANCEL AVOH OEN AUFBAU PER 


FROPAGAN 


ie : ; 

at 

i 

af 

= 

a 

53 

Fs 

y 

5 

me 

ce 

= 

e 

at 

a 

ii 

sg 

A 

Ss : 

ies am { 

a, sca ees 
of MP ft. DIE VEREINBARTE GESUHR Ist BEI LIEFERUNG SOFORT ZAHLBAR. @ 2, MIT BEZAHLUNG OER GE- 
o5 py — BOHR GEHT OER ENTWURF MIT OEM RECHT DER VERYIELFALTIGUNG ZU DEM VEREINBARTEN ZWECK 
zo UND IM UMFANGE DER VEREINBARTEN AUFLAGE IN DEN BESITZ DES AUFTRAGGEGERS UBER. AN. 
>) OM  spRUCHE WEGEN VERLETZUNG OES URHEBERRECHTES BLEIDEN MIR VORBEWALTEN. @ 3, FUR OIF 
o” =  EINTRAGUNG UND SCHUTZFAHIGKEIT DER ENTWORFE UBERNEHME ICH NUR GEWAHR NACH BE- 
ze 2 m SONODERER VEREINGARUNG. @ 4, VOR HERSTELLUNG DER AUFLAGE SIND MIR PROBEORUCKE 2UR 
af i) KORREKTUR VORZULEGEN. @ &. VON DER AUFLAGE SIND MIR UNENTGELTLICH 10 GUTE BELEG- 
a5 % ««-EXEMPLARE ZU LIEFERN. @ 6. DIE ENTWURFE GENIESSEN DEN SCHUTZ DES KUNSTSCHUIZGESETZES 
woo VOM 9. JANUAR 1907 UNO DURFEN EINSCHLIESSLICH DER URHEBERBEZEICHNUNG NICHT VERANDERT 
3m sy G UND WEDER GANZ NOCH TEILWEISE NACHGEAHMT WERDEN. ® 7, SKIZZEN SIND HONORARPFLICHTIG 
ae oe «OUND GLEIDEN MIT ALLEN HECHTEN MEIN EIGENTUM. IHRE NACHBILOUNG UND VERWERTUNG IST 
as Qf NICHT STATTHAFT. @ 8, DIE ENTSCHADIGUNG FOR DIE ERSTE SKIZZE BETRAGT MINDESTENS +, FUR 
Fa mG JEOE WEITERE '4 DER ENTWURFSGEGOHR. @ @. DIE ENTSCHEIDUNG BE! VORSCHLAGEN 2U WAREN- 
> ZEICHEN IST MIT 6 WOCHEN BEFRISTET. NACH ABLAUF DIESER FRIST BEHALTE ICH MIR VOR, OBER 
<= 2@UW) OIE RECHTE DARAN ANDERWEITIG 2U VERFOGEN @ 12, QE RICHTSSTANO IST MAGDEBURG. 

DINFORMAT A 4 OI £76 


JOHANNES MOLZAHN: Invoice following DIN 676. Grey and black type on white. 
The large device is the designer’s personal mark. 


126 


THE HALF LETTERHEAD 

There is also a standard for the AS format (148x210 mm), for use both as 

upright and horizontal. Standard 677 covers both, reduced reproductions of 

which are shown on the following pages. 

Neither of these alternatives is really practical. A5 used vertically is similar 

in general form to a letterhead in standard A4, but is obviously smaller and 

is therefore less easy to find in a file. In horizontal form it has only its width 
in common with A4, but loses in lucidity because the firm’s name and 
details seem to be separated. 

The space for writing on both is rather small, but since they are intended 

for shorter messages that is not a fault. 

A5 letterheads are used chiefly for two reasons: 

1. A short message on an A4 page leaves a large space which may be 
thought unsightly. But a letter is first and foremost a communication, 
and aesthetic appearances must be less important than the purpose of 
the document. We said above that the purpose of a letter is not finished 
when it has been received and read. It will be put aside and needed 
again, and must therefore be looked for. The more different formats and 
sizes the more labour! One format, one standard! 

2. To save paper. But even on longer runs there will be little saved: the 
extra cost of paper is negligible. In shorter runs the cost of printing the 
other half of an A5 sheet will cost as much as an A4 sheet. 

lt is therefore always better to use A4 rather than A5! As for the typogra- 

phy of A5 letterheads, the rules laid down in the sections on A4 are just as 

binding. In both kinds of A5 a strict observance of the normal rules will 
bring an excellent typographic result. 


127 


Geschaftsbriefe | DIN 
Halbbriefe Format A 5 (148210) | 677 


MaBe in mm 
Halbbrief hoch Erlauterungen Seite 2 


Ablegewort!) 


Heftrand : Firma 
<—20—>: Erzeugnisse, Abbildungen 


: uSW. 
KleinstmaB : 


Drahtwort Fernruf Geschaftzeit Banken 


Anschrift des 
Empfangers 


1 Eingang- und 
| Bearbeitung- 
| vermerke 


a 


‘Ihre Zeichen thre Nachrichtvom UnsereZeichen Tag 


Lochmarke Betroft 


- 

oO 

|} Schtus- 
marke 
| 

| 

Y 


< ———40——>] 


Dinformat A5 (148>< 210) Geschaftsbriefvordruck nach DIN 677 


<——_—-_—___—____——148 


1) Nach den Einheits-ABC-Regeln. 
Lochabstand 80 mm (nach Beschlu8 der Briefordnerkonvention). 
Geschafisbrief A 4 siehe DIN676. Briefhillen siehe DIN 678. Fensterbriefhillen siehe DIN 680. 


AusschuB fiir wirtschaftliche Verwaltung (AWV) 
April 1927 Fachausschu8 fir Birowesen Fortsetzung Seite 2 


128 


Le] 


Geschaftsbriefe —_—— 
Halbbriete Format A5 (148210) 677 


Leitsatze und Erlauterungen 


. Die Linien deuten lediglich die Abgrenzung der einzelnen Felder an; auf dem 


Halbbrief seibst sollen nur der Heftrand, die SchluB-, Falt- und Lochmarken 
sowie das Anschriftfeld durch feine Linien, Eckzeichen, Punkte usw. kennt- 
lich gemacht werden. 


. Unbedingt einzuhalten sind: 


Heftrand von mindestens 20 mm Breite, 

Lage und Abmessungen der Felder fiir Anschrift des Empfangers, Eingangs- 
vermerke und des Absenders Postanschrift, 

Reihenfolge der Post- und Geschaftangaben (Drahtwort, Fernruf usw.; das 
Wort Betreff kann in den Heftrand hineingeriickt werden), 

Reihenfolge der Zeichen- und Tagangaben. 


. Nur die unterstrichenen Angaben sollen woértlich oder sinngemaB eingedruckt 


werden, die andern Angahen des Normblattes dienen lediglich zur Erlauterung. 


. In der Zeile fiir Post- und Geschaftangaben (Drahtwort, Fernruf usw.) kénnen 


einzelne Angaben weggelassen oder neue 2ugefigt werden. 


. Es ist empfehlenswert, die Leitworte fiir Zeichen und Tagangaben so zu 


setzen, daB die zugehérigen Eintragungen nicht daneben, sondern darunter 
erfolgen kénnen. Dadurch wird wiederholtes genaues Einstellen der Schreib- 
maschine vermieden. Aus demselben Grunde soll die Jahreszahl bei Tag- 
angaben nicht vorgedruckt werden. Unter ,|hre Zeichen" sind Akten- und 
Ansage- (Diktier-) Zeichen zusammenzufassen. 


. Ist der Absendeort vom Sitz der Firma verschieden, so kann statt des vorge- 


druckten Wortes ,Tag" der Absendeort und dahinter das Wort ,am"“ vor- 
gedruckt werden. 


. Anlagen- sowie Verteilvermerke sind links unter dem Text, Angaben uber die 


Art der Versendung (z. B. Einschreiben, Rohrpost) sind im Anschriftfeld ther 
der Anschrift anzugeben. 


. Auf dem Heftrand kénnen Druckvermerke (Auflagehéhe, Auflagetag), Blatt- 


gewicht, Felder fur Gegenzeichnung usw. aufgenommen werden. 


. Beim Halbbrief quer kann die Zeile der Zeichen- und Tagangaben bis an den 


oberen Rand gertckt werden, wenn auf die Firmenangabe an dieser Stelle 
verzichtet wird. Dadurch wird Schreibflache gewonnen. 


Fortsetzung Seite 3 


129 


Oc} 


- (UONUaAUOYaUPYOJaIUg Yap YN}yoSeg YoeU) WU Og pue}sqeyoo7 


ujaBay-Ngy-siayulg uap yoen (; 


148 


<— 


Firma 


mm mem emcee ee eee | 


a 


Rome 6 2--— > 


Faltmarke 1 Ablegewort !) 


| Kanata : Ihre Zeichen ihre Nachricht vom Unsere Zeichen Tag 
oO 1~— 20—>: 

Mindestma} | Betreftf 
Y |_Faltmarke 2 
1 
ro) 
Y | Lochmarke 
A 
pas 
ia 
os L ____des Absenders Postanschrift, a ga ee 
A 
oO Anschrift des Empfangers | Eingang- und Bearbeitungvermerke 
> : 

| 

Y |< --——_——_ 105 ——_—____-_- -- > 
ey pialebaiet quer Drahtwort Fernruf Geschéftzeit Banken 


0 [Din677, Dinfor-: 
Y [mat A5, 148%210: 


Jenb jaluqqieH 


Z AaSG uabunuajneyy 


ww ul egeyy 


(Ole < SP) S Y JeUIOY OJe11qg/eH 


jaluqsyeYyIsayH 


€ Blas 


ENVELOPES WITHOUT WINDOWS 

For the standard letter size A4, the envelope size is DIN C6. Besides this 
main size other sizes are in use, for various reasons, to be seen in Standard 
678 (see reproductions on the following pages). 

According to the latest Post Office rules, the firm’s address, and advertis- 
ing matter, may be placed only on the left-hand third of the front, and on 
the back, where however a margin of not less than 2% cm must be left at 
the top. It is recommended that about 3 cm be left free on the top margin 
on the front, in whatever size of envelope, to avoid the postmark obliterat- 
ing any of the print. Stamps (including franking) and address should be 
incorporated in the typographic design since that is how the addressee 
receives it. It is therefore desirable to stick a stamp down on the layout. 
Our reproductions show two good examples of typographically designed 
envelopes. The envelope by Piet Zwart conforms to German Post Office 
rules except for the recommended but not obligatory 3 cm clear strip at the 
top; it is a fine example of an envelope in C6 format. The envelope for 
Gerasch, because the design extends over half the front, admittedly does 
not conform to present Post Office rules, but is included here only as an 
example of design in general. 


PE | 


uv 
m 
— 
N 
= 
> 
va 
+ 
o 

= 

pi 
o 
2 
x 
... 
za 
” 
ep] 
- 
a 
> 
> 
—| 
= 
m 
G) 
NO 
‘O 
oO 
= 
> 
ie) 
ez) 
m 
A 
> 
> 
vu 


PIET ZWART: Envelope with designer’s device (reduced). Black and red on grey. 
Format C6 (114x162). 


131 


Briefhillenformate 


Bezelchaung elner Briefhilie im Format C6 (114 xX 162) 


Hille C6 


Briefhillenformat SS 
Einlagenbeispiele 
zeichen 


81x114 A? 74x _—* Besuchskarten, Gliick- 
wunschkarten, Karteikar- 
ten, Anschriftkarten 
114x162 105 x 148 Postkarten, gefaltete 
Briefe und Akten, Bro- 
schiren, Werbsachen, 
Karteikarten 


162x229 Le eee Briefe, Akten, Broschiren, 
Werbsachen, Karteikarten, 
Zeichnungen, Normbiatter, 
229x324 Mid Reseed rae 
72C4] 114x324 2 A4 105 x 297 lang gefaltete A 4-For- 
mate 
114x162 A6-Formate mit Cé6- 
Deckel, Briefhillen C6, 
dicke A 6-Sendungen 


—_ nae 
176x250 162 x 229 A5-Formate mit C5- 
Deckel, CC 5-Briefhillen, 
dicke A 5-Sendungen 


229 x 324 Schriftsticke in C4 
Mappen und_- -Akten- 
deckeln 


2C4 114x324 lang gefaltete C 4-For- 
mate 


Bei der Bestellung sind Qualitat, Farbe, Art und Ausfiihrung anzugeben. 
C 7 ist die kleinste bei der Post aufzuliefernde Briefhiille. 

C 6 ersetzt Quart- und Foliobriefhillen. 

Papierformate — Anwendungen der A-Reihe - siehe DIN 198 
Papierformate — Metrische Formatordnung -— siehe DIN 476 
Fensterbriefhillen siehe DIN 680 


Ausfiihrung: Umschlag, Tasche oder Beutel 


250x353 


November 1924 Siehe auch Seite 2 


132 


DIN 
678 Bi.2 


Briefhiillenformate 


250 x 353 


C4 229 * 324 Ib C4 114 * 324 


776 * 250 


162% 229 


114 *162 


133 


Wichtige Mitteilung, Messe betreffend! 


ipzig 


I Gerasch GmbH Lei 


E 


JAN TSCHICHOLD: Envelope for advertising matter. Red on white. Reduced. 


WINDOW ENVELOPES 

To avoid repeating the address on the envelope and to make putting a let- 
ter into a wrongly addressed envelope impossible, window envelopes are 
used, whose sizes are laid down in Standard 680 (see reproduction). 

The common envelopes with rounded windows should be replaced by win- 
dows with square corners. 

If the standard letter is folded in the simplest way — once across and once 
longways — the corresponding window envelope must have a horizontal 
window. Since this is not yet agreed by the Post Office, the less convenient 
triple fold as shown in DIN 676 is necessary. 

The postal address of the sender appears in the standard window, so it is not 
absolutely necessary to print it on the envelope. But if the sender wishes to 
make his envelopes recognizable, the firm's address can of course be printed 
outside. Example: Tapetenhaus Ruhl. 


134 


Fensterbriefhiillen 


Fensterbriethille Faltung des Geschaftsbriefes Faltung der Halbbriefe 
: Format A 4 DIN 676 Format AS DIN 677 


48 


Format C 6 (114x162) 


Bereichnung: 


Fensterbriefhiille C 6 DIN 680 


Format 114x229 


Bezeichnung: 


Fensterbriefhille 114x229 DIN 680 


Bezeichnung: 


Fensterbriefhillle C 5 DIN 680 


Die Formate C6 und C5 sind DIN 476 entnommen, das Format 114 x 229 ist von diesen 
abgeleitet 

Die Ecken der Fenster kénnen gerundet sein. 

Die Breite der Fensterumrahmung Ist nicht festgelegt 

Fir einwandfreie postliche Erledigung ist beste Durchsichtigkelt des Fensters erforderlich. 

Die Riickseite und das linke Drittel der Vorderseite dirfen fiir Firmen- und Werbeaufdruck 


benutzt werden 
Freimarken sind in die obere rechte Ecke zu kieben. 
Ausfiihrung: Umschlag oder Tasche 


Bei Bestellung sind Gite, Farbe, Art und Ausfuhrung anzugeben. 
Umechiag 


Papiergiiten siehe DIN 827 
Briefhillen ohne Fenster siehe DIN 678 
Oktober 1926 AusschuB fiir wirtschaftliche Verwaltung (AWV) 


Tasche 


135 


Also on the window envelope, according to the latest rules of the Post 
Office for business addresses and advertising, only the left-hand third of 
the front may be used, and the back, where not less than 2% cm on the top 
must be left clear. About 3 cm is recommended to be left clear along the 
top on the front, on all sizes, to avoid a postmark obliterating any type. 
Stamps (including franking) should be incorporated in the typographic 
design, since the receiver usually receives franked envelopes. 


eo 
= 
=5 
_ 


TAPETENHAUS 


| _ 


HERBERT BAYER: Standard window envelope (reduced). White paper. Printing in 
black and red. Format C6, DIN 680. 


THE POSTCARD 

A standard for postcards has been withdrawn, because the Ministry for 
Posts raised an objection. A new standard is in preparation. 

The standard for postcard sizes is DIN A6 (105x148 mm), the largest per- 
missible in Germany and also the standard world size. Postcards in A6 can 
therefore be sent to any country. 


136 


The Post Office prescribes that the right half of the card be left free. The 
left half is for the use of the sender. To print the word “postcard” is 
unnecessary. 

Since no standard for the layout of postcards is yet laid down, the design 
is left almost completely to the individual. The following pages show some 
good typographic solutions for ordinary postcards. In the design of a post- 
card, as in letterheads, the writing of the address and the stamp must be 
integrated in the design (postcards are always received written; only the 
sender and printer see them without writing). It is better to stick a stamp 
on the actual design. Stamps must not have a border (for example, a 
twelve-point rule) round them, which might make the postmark illegible. 
The most usual form of laying out the address: 


Herrn 
Fritz Meyer 


Berlin-Charlottenburg 2 
Goethestrasse 40 


based on handwriting, is unsightly and unsuitable for the typewriter. 
The aligned way: 


Herrn Fritz Meyer 
Goethestr. 40 


Berlin-Charlottenburg & 


is better: it is standard practice in the USA. Its clearer arrangement fits 
typographic design far better. 

It is advisable to leave a margin of at least 20 mm round both front and 
back of the postcard. Like every other kind of stationery it must be capable 
of being read in a file without having to take it out. In some of our exam- 
ples this recommended margin is left free. The upper 25 mm of the 
(gummed) address side is better left unprinted, as the postmark may make 
it unreadable. (The Postal authorities however guarantee that in the future 
this will not happen, on postcards.) The design of some of the postcards 
reproduced here has taken account of that. 

The use of bold rules to underline the main address in some of our exam- 
ples has not proved to be very functional. It sometimes requires a time- 


137 


wasting adjustment of the typewriter. It is better to underline the address 
on the typewriter, as shown on the previous page. 

Type matter should not be “killed” by the typewriting — another reason for 
using sanserif, especially in semi-bold and bold weights. 

On ordinary postcards the writing side should be so written and printed 
that it can be read lengthways (with postcards with flaps that happens any- 
way). Lengthways is the natural way to read: postcards are not book pages. 
A properly written postcard has the writing as on a book page turned side- 
ways. 


FOR POSTCARDS WITH FLAPS SEE PP. 144-147 


138 


ec ce 
ae 
ya 
5 a 
rh! 
e 


| 
3 
[am 
& 
¢ 
_ 
/) 
M4 
90VlL HAHOSYdSNYSSA 'VNSF YNVELIGVLS 'V9CE OLNONOYID 
~ al 
5 
as 
as 
ul & 
tk 
2% 
33 
OL 
= \ Vv | Mada a (JAN: 


139 


WALTER DEXEL: Postcard in A6. Black type on yellow card. 


Ori 


expéditeur @ 


| 
| 
| absender @ 
| 
| 
| 
{ 


| miunchen pranckhstr 2 


| frau kate steinitz 
| georgstr 354 
{ 


hannover 


| Bese ee ee oe | 
| 
| 


JAN TSCHICHOLD: Postcard in standard format. Black type on white paper. 


bol 


EDITH KRAMER 
PLANEGG BEI MUNCHEN 


HOFMARCKSTRASSE 39 


Milchinsel 4 


Herrn Ernst Kellner 
Leipzig C l 
| 


JAN TSCHICHOLD: Postcard in standard format. In this example, hole-punched. 
Original in black and red on yellow card. 


cv 


40 


RUF: NIEDERSEDLITZ 411 


ALWIN OTTO 


KONIGSALLEE 


IM AUFTRAGE: 


DRESDEN-LEUBEN 


JOOST SCHMIDT: Postcard in standard format. Black type on white. 


evi 


2. 
eS 
va 
29 


e. 
%, 
+) oe 
ae: 
< ae, 
a4, 
Se 
* 
4 


- 
_— - + vie 
; 
% 
+ ee 
we ¢: wy 
; 


werbe-bau, Bochum, KreuzstraBe 10 


i a ee a et 


Ruf 3503 


werbe-bau 


Max Burchartz / J. Canis 
Werbe-Beratung 
Werhe-Entwiirfe 
Werbe-Drucksachen 


Bau-Beratung 
Bau-Entwiirfe 
Innenrdume 


Hausgerat 


Formgestaltung von 
industrie-Erzeugnissen 


MAX BURCHARTZ and JOHANNES CANIS: Postcard in standard format 


THE POSTCARD WITH FLAP 

offers great advantages in economy of time and effort, especially to firms 
with extensive correspondence. The basic DIN A6 (105x148 mm) gives the 
lengthways format 2 DIN A8 (52x148 mm) (see illustration). The address 
can thus be typed on the same side as the message. The flap is folded back 
and stuck down. This allows the omission of the address on the correspon- 
dence side (which otherwise, only because of the carbon copy, must be 
included) and enlarges the space available for correspondence, which has 
at its head the four main headings and the “subject.” 


A 

| 

| 

o (a) Raum fiir die Adresse des Empfangers 
I ‘Ihre Zeichen ihre Nachricht vom Unsere Zeichen Tag 
:Betreff 

| 

| Heftrand 

Ol<— 20 —>: Raum fir die Korrespondenz (b) 

1 | KleinstmaB : 

7 : 

| 

| 
Y 


8 


Size of postcard with gummed flap for address (in mm). 
Both parts can be typed in one sequence, and then part (a) is folded back and pasted down on 
part (b). 


144 


Since so much of today’s correspondence is on postcards, it becomes more 
and more necessary to follow these general rules. 

For the firm’s details on the front of such postcards, the whole left half — 
or the upper/lower left quarter (to be finally stuck down) of the address 
area — can be used. It is expedient to use the lower left quarter for the 
firm's details. In this way (provided the printing is in one colour) only one 
printing is required for both sides of the card (see the Lechner-Norkauer 
postcard on the following two pages). 

On such postcards, which for reasons of economy carry the sender's 
details below left, it is not always easy to make the necessary distinction of 
the addressee’s address quite clear. A simple vertical rule, running only to 
the middle, usually looks ugly. The best solution is to put a rule round one 
of the halves, as on the Lechner-Norkauer card. This shows the most prac- 
tical kind of modern postcard. 


145 


9ovl 


PROFESSOR THEO LECHNER 


FRITZ NORKAUER 
ARCHITEKTEN B.D.A. 


FERNSPRECHER 26128 
BANKKONTO: BAYER. VEREINSBANK MUNCHEN 


| 
MUNCHEN BRIENNERSTRASSE 55 


JAN TSCHICHOLD: Front of postcard with gummed flap for address. Black type on white. 


Zyl 


SS A 


IHRE ZEICHEN IHRE NACHRICHT VOM UNSERE ZEICHEN TAG 


| 
| 
BETRIFFT 


Reverse side of above postcard 


THE BUSINESS CARD 

The business card format is A7 (74x105 mm). If business cards were not as 
formerly in completely random sizes, but in this uniform and suitable size, 
with a catchword heading for filing (see scheme), then the arrangement of 
an address file — in either alphabetic, subject, or geographical order — 
would be made possible, and unlike the present lack of system could eas- 
ily be kept in perfect order, with additions or deletions as needed. 

A norm for business cards does not yet exist. It is recommended that 
besides being made in the uniform size already mentioned, all cards should 
have headings as in this example: 


Name (,Vorname) Beruf 
oder Erzeugnis 


a a 


Size (in mm) and plan for the headings of a business card. 
The space beneath the rule is for remaining information: the full name of firm. town (and street) 
telegraphic address, telephone, business hours, bank. list of products, trademarks, agents, etc. 


Good solutions of every kind, even in the old-fashioned centred typogra- 
phy, must use the specified format and headings. The business card 
“werbe-bau” shows that the required format and headings need not spoil 
the card's effectiveness. 


148 


werbe-bau Werbe-Beratung Bochum, Kreuzstr. 10 
Bau-Beratung Ruf 3503 


Werbe-Beratung 
Werbe-Entwirfe 
Werbe-Drucksachen 
Werbe-Filme 

Werbe-Organisation 


werbe-bau 
Max Burchartz / J. Canis 


Bau-Beratung 
Bau-Entwirfe 
Innenraume 
Hausgerat 


Formgestaltung von 
Industrieerzeugnissen 


Es besucht Sie Herr Canis 


Bitte wenden! 


1 


Papiertormate 
Beuth -Verlag Berlin $14) 


ist durch Format und Satzanordnung 
Din - Buch 1 


als Adressen -Kartei-Karte verwendbar. 


(Nadheres: 


Diese Besuchskarte 


Normrechte Drucksachen in Dinformat 
entwirtt werbe-bau 


MAX BURCHARTZ and JOHANNES CANIS: 
Front and back of a filing-adapted business (address) card. Actual size. Format A7 
(74x105). Black type on white card. 


149 


In view of the present chaos in business-card design — even worse than 
that in pre-standardized business letterheads — the recommendations 
made here are most urgently required. Even if the system of headings is not 
followed, at least the A7 format should be adhered to. 


THE VISITING-CARD 

A private visiting-card naturally does not carry headings. Most important: 
the prime requisite for a satisfactory result is to keep the printed informa- 
tion down to the barest essentials. Since for various reasons it is most 
desirable that the dimensions of business and private cards should be the 
same, the format DIN A7 (74x105 mm) must be used. The former distinc- 
tions between “ladies’ cards” and “gentlemen's cards” and countless simi- 
lar nuances must be forgotten: they have now become stupid and in addi- 
tion unpractical. Example: 


jan tschichold 


8) 
Ce) 
N 
Nw 
Te) 
Oo 
~ 
N 
@ 
© 
© 
Qj 
~ 
“) 
a ony 
x 
O 
Cc 
i] 
Q 
Q. 
co 
53 
Cc 
Cc 
vt] 
S 
oO 
Cc 
sa 
= 


Visiting-card in standard format (DIN A7, 74x105). Black type on white. Actual size. 


150 


ADVERTISING MATTER 

SLIPS CARDS LEAFLETS PROSPECTUSES CATALOGUES 

It is difficult to lay down standards for the design of advertising matter 
since this appears to contradict the whole essence of the business. 
Advertising depends on variety, departure from rules, and surprise. It 
would be wrong to insist on wholesale restrictions in its design. 


Format 

The belief that form does not have the same importance in advertising as 
the text, the typography, photography, and colour, is not valid. Everyone 
who sends advertising matter out into the world hopes that it will not be 
thrown carelessly away, but read carefully and, where possible, kept for 
reference. It will not often lead to a direct sale; but if the subject matter is 
of interest, the recipient will remember it and when opportunity offers will 
come back to it. Advertisements, leaflets, and catalogues accumulate and 
begin to acquire a significance whose purpose is lost if they cannot easily 
be stored and a particular item cannot be found when it is wanted. And the 
effort to make advertising matter conspicuous by means of its format is 
wasted if everything is the same size. Would-be attractive smaller formats 
disappear beneath larger ones, and giant formats are a nuisance to those 
who must store them. In addition, formats all of different sizes will eventu- 
ally become torn or otherwise damaged. Sadly today, out of any 100 adver- 
tising items collected in exhibitions or elsewhere, 95 will be in different 
shapes and sizes. It would be a great advantage if standardization in these 
areas could be consistently followed. It would mean less work for those 
who receive advertising matter, and for the manufacturers it would be a 
recommendation and probably profitable. 

The introduction of standard formats in advertising will bring with it all the 
other advantages of standardization: greater economy, real organization of 
print production, etc. In addition, advertising items would fit into filing sys- 
tems with most business correspondence, standard format periodicals, 
etc., and this too offers many advantages. Basically, the sizes of A-range 
are all that is needed. The main format here is A4 (210x297 mm) and A5 
(148x210 mm). 

The artistic possibilities of standard formats, which give good page propor- 
tions, are unlimited. This is shown by the numerous reproductions in this 
book of matter printed in standard formats. It is usually a sign of incompe- 
tence when a non-standard format is insisted on “for artistic reasons.” 


151 


DIE MARCHEN VOM PARADIES sind 


DIE MARCHEN 4g-; 20. Jahrhunderts 


URTEILE DER PRESSE: 

Ftir das Marchen bringt Schwitters viel mit. Seine 

Marchen sind immer dessen eingedenk, das Mar- 

chen des 20. Jahrhunderts anders sein mussen 

als die fruherer Zeiten, nicht romantisch-poétisch, 

sondern in gewissem Sinne konstruktiv. MAN 

TRAUT IHREM SCHOPFER DAS ZEUG ZU, DAS 

MARGCHEN MODERNEN STILS ZU SCHREIBEN." 


Hannov., Kurier, 25, 11. 24. 


APOSSVERLAG, HANNOVER 


KURT SCHWITTERS: 
Advertising slip (actual size). Black type on blue paper. 


Design 

The graphic design of all advertising depends to a high degree on the 
quality of the text. The writing of text should always be entrusted to an 
expert: advertising today has become a science, which it is dangerous for 
laymen to enter. A defective text can endanger the effectiveness of the 
whole. 

As regards the type, an effective and original typographic form must be 
found. The advertising card for the Kubin Exhibition by Walter Dexel 
shows the powerful effect which can be obtained from type alone. All sec- 
ondary matter (rules etc.) has been excluded. It is in fact often necessary 
to use such secondary matter to obtain a good result, but it must always 
belong to the whole design and not be introduced like old ornamentation. 
Bold borders, rules, points, etc. must be functional. The decorations 
which are typical of old typography are always wrong. Rules used in the 
New Typography are necessary when they provide contrast and empha- 
size visual effect. 

In the advertising slip by Kurt Schwitters, the vertical black strip is most 
necessary because it provides such a strong contrast to the horizontal 
lines of type. In this design of contrasting directions, the difference 


152 


esi 


Se nt ee 
ee 


KUNSTVEREIN JENA | 


PRINZESSINNENSCHLOSSCHEN : 
3.BIS 31.MAI1925 
| 


ALFRED KUBIN 


AQUARELLE 
ZEICHNUNGEN 
LITHOGRAPHIEN 


MITTWOCHS UND SONNABENDS 3—5 SONNTAGS 11-1_- 


AUSSER DER ZEIT FUHRUNG DURCH DEN HAUSMEISTER 


WALTER DEXEL: Advertising card in standard format A6. Black type on blue card. 


Lounbheeract @ warar 


- aS . iz wissen wollen, was modern ist, 


S 


fragen Sie mich 


WEN N Sl E wissen wollen, was praktisch ist, 


fragen Sie mich O O 


WEN N b= | Ee eines fachmdnnischen Rates bedirten, 


fragen Sie mich 


no Olm 476 at | 


Vierle und erste Seite 


FAGUS-SCHAFTMODELLE 
werden von erstklassigen, durchaus er- 
fahrenen Fachleuten nach Leistenkopien 


WIE BESTELLT MAN 
FAGUS-SCHAFTMODELLE 


entworfen. Eln Nichtpassen ist ausge- 
schlossen. 


FAGUS-SCHAFTMODELLE 
berdcksichtigen raffiniert alle Mdgtich- 


kelten der Lederersparnis. 1. 

FAGUS-SCHAFTMODELLE Geben Sle mir die Modelinummer der ge- 

sind geschmackvoll in Linienfdhrung und wOnschten Lelstenform an. 

Einteilung. Sie werden der Leistenform Wenn die Lelsten nicht von mir gellefert 

gerecht. sind, so senden Sie mir einen RECHTEN 
Leisten der gewOnschten Lange. WdOn- 


FAGUS-SCHAFTMODELLE 

sind auf der Héhe der Zeit. 

Ich bekomme Anregungen ausallen Teilen 
der Welt und verwerte sie im Interesse 
meiner Kundschaft. 


schen Sle ganze Satze Schablonen, so 
senden Sle mir 3 RECHTE Lelsten, und 
zwar einen der kleinsten, einen der groB- 
ten und e!nen der mittleren Grdfie. 


2. 


Geben Ste mir thre WGnsche an beziig- 


20304 lich: 

QSaoqge a Schnittart 
FAGUS-SCHAFTMODELLE sind In .oe ee b Schafthéhe 
jeder Beziehung richtig; ob Sie feine 25 £0 t% c kurzen oder gewdhnlichen Blattes 
Modestiefel anfertigen oder derbe oc Ss& d AusfOhrung mit oder ohne Bug. 
Arbelterschuhe oder Par.toftel, in eneers 3 
jedem Falle bekommen Sie die rich- © 2 ceound Sars bitte Ich um Mittellung 
tigen Schaftmodelie beim 32% a3 a mit welcher Uberholmaschine Sle ar- 

c co belten 
FA G U Ss -WE R K sag © S ues b welche es paige ae verwenden, 
KARL BENSCHEIOT So=tor leicht, mittel oder schwer 
. 90— = c¢ ob Sie Absa&tze verwenden, die der 

SRA rane: eterna qe0o5 E Leistensprengung nicht entsprechen. 


Zwelte und dritte Selte 


HERBERT BAYER: Four-page advertising leaflet. Black and red on white. DIN A5, 
horizontal. Hole-punched in advance. 


between the free forms of the type and the compact area of black provides 
the effect. 

The Fagus leaflet by Herbert Bayer shows the powerful effect of pica-rules 
in colour. By themselves of course they do not guarantee the result, but 
they are used consciously as a means to increase the optical intensity. The 
large white space on page 2 with the small Fagus trade mark is made 
noticeable by the red right-angle. The arrow on the same page is used log- 
ically as well as harmoniously to contrast with the grey of the type; and the 
large query sign on page 3, besides by its nature indicating something 
important, makes a strong and pure visual contribution. And the red circle 
on page 2 is not decorative but functional; it calls attention to the firm's 
details. To make filing easier the leaflet has been hole-punched: the holes 
are incorporated in the typographic design. 

The prospectus by Moholy-Nagy (opposite) is another thoughtful design 
with great visual impact. 

Besides typographical contrasts, functional use of colour can increase opti- 
cal intensity. Contrast between black and white is one of the strongest and 
simplest ways to achieve an effective result. Further effect can be obtained 
by the use of coloured papers or card, printed in black or other colours. 
Further enrichment can be got from the use of a second as well as a single 
colour on white or coloured paper. 

The place of colour in the New Typography has been dealt with in the sec- 
tion on basics, and need not be further emphasized here. 

It is especially in advertising that strong contrasts by every possible means 
must be used for the most effective results. If possible these should be 
obtained by exploiting the characteristics of type and photography etc. 
Only when these are not enough should secondary sources of contrast 
(borders, rules, points) be resorted to. The intentionally very different kinds 
of design shown here in the two advertising leaflets by Burchartz and Canis 
are examples of this. On the “werbe-bau” leaflet the heavy form of the sym- 
bol and the firm’s name contrast with the small type in the open panel 
above and the isolated panel in the middle. The broken appearance of the 
short lines just above and below “werbe-bau” are in effective contrast with 
the tightness of the rest of the type. In the “fahrt” leaflet, the angled para- 
graph and the repetition of “100%” (in green and black) are used as means 
to gain effect. 

An exceptionally important role is played in modern typography, and espe- 
cially in poster design, by the use of photographic blocks. The invention 
has introduced a new epoch in graphic design, in whose beginning we now 
first find ourselves. Nearly everything formerly achieved by drawings, 


156 


Zs 


IM Bau HAUSVERLAG ERSCHEINEN DEMNACHST DIE 20 PUNKT, LINIE, FLACHE von WASSILY KANDINSKY 
@1 RUSSLAND von ADOLF BEHNE 


BAU HAUSBUCH ER 22 REKLAME UND TYPOGRAPHIE von EL LISSITZKY (RuSlang) 
23 NEUE ARCHITEKTURDARSTELLUNG von WALTER GROPIUS 
24 BILONERISCNE MECHANIK von PAUL KLEE 


25 WERKARBEIT DER GESTALTUNGEN von L. MOHOLY-NAGY 
26 ARCHITEKTUR, MALEREI, PLASTIK von den WERKSTATTEN DES 


si BAUHAUSES 

Von der Erkenntnis ausgehend, da alle Gestaltungsgebiete des Lebens miteinander 27 DIE NEUEN MATERIALIEN von ADOLF MEYER 
eng verkniipft sind, gibt der Bauhaus-Verlag cine Serie von Biichern heraus, welche sich 28 ARCHITEKTUR von LE CORBUSIER-SAUGNIER (Frankreich) 
mit den Problemen heutigen Lebens beschaftigen @ Wenn man sich tiber den Stand 28 BILDERMAGAZIN DER ZEIT Il von JOOST SCHMIDT 
neuer Forschungen, neuer Ereignisse cingehend unterrichten will, empfindet man heute 3O NEUE ARBEITEN DER BAUHAUSWERKSTATTEN 

; 4 a 5 3 31 VIOLETT (BUHNENSTUCK MIT EINLEITUNG UND SZENERIE) 
oft die Mangelhaftigkeit wortkarger oder oberflachlicher Zeitungsberichte oder illustrierter von WASSILY KANDINSKY 
Zeitungen. So werden die Bauhausbiicher kiinstlerische, wissenschaftliche und technische : a 
Fragen behandeln, unter dem Aspekt ihres gegenseitigen Zusammenhanges. Der Bauhaus- Jeder Band enthalt ca. 16 Seiten Text und $2 bis 48 ganzseitige Abbildun- 
Verlag versucht mit dieser Serie den in ihrer Spezialarbeit verankerten heutigen Gestaltern gen oder 48 bis 6O Seiten Text @ Format 18X23 cm 5) Preis der einzel- 


nen Bande in festem Pappband Mk 4.— Doppelband Mk. 7.— 


ber die Problemstellung, die Arbeitsfihrung und die Arbeitsergebnisse der benachbarten 
und verwandten Gebiete AufschluB zu geben, und ihnen dadurch cinen Vergleichsma- 
stab fiir ihre eigenen Kenntnisse und den Fortschritt in anderen Arbeitszweigen su schaf- IM BAUHAUSVERLAG | 
ST ERSCHIENEN: 

fen. Um eine Aufgabe von diesem AusmaD bewaltigen zu k6nnen, hat der Bauhaus- Verlag 
anne -deloeser Beinaanangea pe mn eee si ark “i ST AATLIC HES 

eit heutiger Lebenserscheinungen cinzugliedern bestrebt sind, zur Mitarbcit aufgefordert. 

Damit erreicht er den doppelten Zweck: den Bauhaus-Kreis mit wertvollen, geistig ver- BAU HAUS WEI MAR* 
wandten Menschen zu erweitern und dadurch der Verwirklichung seiner Ziele, der Syn- 
these aller schdpferischen Arbeiten naherzukommen O Das Programm der ersten Bande ats, et ; : 
(Schriftleitung: GROPIUS und MOHOLY-NAGY) ist folgendes: ist in erster Linie Dokument dieser Anstalt; 


1-2 INTERN e es reicht aber, dem Charakter der Anstalt ent- 
°2 INTERNATIONALE ARCHITEKTUR von WALTER GROPIUS sprechend, weit iiber eine drtliche oder spezi- 


as Buch des Staatlichen Bauhauses zu Weimar 


3 PADAGOGISCHES SKIZZENBUCH von PAUL KLEE Sap aks : , 

4 OIE BUHNE IM BAUHAUS fische Angelegenheit hinaus ins allgemeine, 
B&B NEVE GESTALTUNG von PIET MONDRIAN (Holland) gegenwartige und zukunftige Gebict kunstleri- 
6 EIN VERSUCHSHAUS DES BAUHAUSES schen Schaffens und kunstlerischer Erzichung oO 
7 GRUNDSEGRIFFE DER NEUEN GESTALTENDEN KUNST von So wie dus Staatliche Bauhaus das erste wirk- 


THEO VAN DOESBURG (Holland) 
8 AMERIKA? — EUROPA? von GEORG MUCHE ss ; ; ; 
9 KLEINWOHNUNGEN von DER ARCHITEKTURABTEILUNG DES gewonnenen Einsichten in kunstlerischen Ent- 
BAUHAUSES wicklungsfragen bedeutet, so nimmt das Buch 
pe Si penina os oat pares ol igAt hoo sé spiegelnd Teil an diesen Fragen, und bedeutet 
von KAR HLEMMER : : : ; : 
12 SCHOPFERISCHE MUSIKERZIEHUNG von H. JAKOBY (Hellerau) pedo Wee islet Uber len Staal aiieser Diege F 


Bestellungen und Vorbestellungen 


liche Zus c im let ahrzehnt 
iche Zusammenfassen der im Ictzten Jahrzehn uaitas Gea biiig Gibeed Karte erbeien 


13 FILM UND PHOTOGRAPHIE von L. MOHOLY-NAGY unterrichten will, hierzu ein willkommencs Mit- 
14 DIE ARBEIT DER STIJL-GRUPPE von THEO VAN DOESBURG tel, Dariiber hinaus bleibt es cin geschichtliches 
18 KONSTRUKTIVE BIOLOGIE von MARTIN SCHAFER Dokument. Denn das Bauhaus ist, obwohl zu- 
16 DIE HOLLANDISCHE ARCHITEKTUR von J. J.P. OUD (Holland) nachst cinzigartig, keine insulare Erscheinung,. i 


17 FUTURISMUS von F.T. MARINETTI und E. PRAMPOLINI (Italien) 


dern ein kraftiger Trieb, der sich voll ent- 
48 DIE ARBEIT DER MA-GRUPPE } nl ea ior Neti 
(Ungarn) von L. KASSAK und E. KALLAL faltet und auch vollig sich ausbreiten wird. Das 


18 PLASTIK DER GESTALTUNG von A, BEHNE und M. BURCHARTZ, bedeutet fur das Buch ein Stick kiinstlerischer 


| 
NSAHONIW 


‘wewe OY TINSASNVHNVS 


L. MOHOLY-NAGY: Inside double spread from a book prospectus. Black and red on white. 1924. 


whether engraved, cut, or etched, can now be done better, faster, and usu- 
ally more cheaply, by photos and blocks. Sadly the possibilities of photog- 
raphy itself and photographic techniques are still shunned by many, includ- 
ing even printers. My belief that photography is just as much a part of 
typography as type and rules has been strongly opposed. Photographs, like 
letters, are a means of communication. The faster and simpler the means of 
communication the better. The development of our type from pictures to 
writing was intended to increase, as much as possible, understanding 
between people. Today there is much that we can “say” more simply with 
photographs than with words. And are not photographic blocks materially 
related to type? Certainly progress will bypass those who do not accept the 
photographic block in typography, or photography in general, and consider 
them a “non-artistic form.” (This problem is dealt with in the section on 
“Photography and Typography,” p. 87.) In advertising, at all events, there is 
no question of an “artistic representation” of an object. Of these “artistic” 
forms and oil-paintings that so often were completely “unreadable,” we 
have now had enough. The required object must be shown as clearly, as 
perfectly, and as truthfully as possible, and nothing can do this so well as 
photography. Because photography, as a black-and-white form, when com- 
bined with type provides totally new possibilities of design by means of the 


3 


{| Ananreates: 

| Antectgung 

} VortearusgeabachiGese 

| Kinrtentung wad teutende Ergtnseeg vou Piic-Archives 


Die Werkungs Gwch dan Flim, das Hageie Werkhemttet, wird tn Nower 

eidrher slelgeeders Maka bagetit. Dea Vorsng besandaryr Closkratt 

sichari (ha; Dérefis, wenigzsiens meiths! aock. selne Neuertign ot. 
o 


slots mit in Belracht au ziebon. 


I 


| 


— 


eee see ; MAX BURCHARTZ 

a ea ee oe and JOHANNES CANIS: 

va! . . Reverse side of an advertising leaflet, 
in DIN A4. Black and green. 


158 


MAX BURCHARTZ 
and JOHANNES CANIS: Advertising Wor Ela 2: ia, — 
leaflet in two colours. A4. 


Voneie, =< cit tient hafiatad hieieo Karn, weet 
pe lew Pa} y 
Lrerchius discos heterhnet, sogestrmgt beoutn oa. 
werden, vad sellat Lereeheet anf nkcht vet ¥ gs: coy stiche 
Betnestions;, bt ds JewHed f 5 sehr lel qeboent. 
Dir Sorgist tine dct: lechnisuien Vetarbedan % a tet Neco 
Sie Tubcite ¢ ium 
Le begs ae Weern clnes sich nse cn Gewbatwades plete 


rac = 
Das Leo-Red he sgt bobly st: Me ea Ges nut an Vesbeacchet 
abgegricn, dsher haan ve ae Mig sen Ce kostet: 


contrast between (apparent) plastic and flat, it can be said that today’s 
typography is completely different from everything in the past. Typography 
has thus become “three-dimensional” — an expression of our time, which 
seeks to conquer space. 

Photography has the advantage over drawing that it is free of the often 
overwhelming “personality” of the artist, whose individuality is out of har- 
mony with the spirit of our time. Indeed, every drawing contradicts the aim 
of good advertising for greater objectivity and reality. People believe a pho- 
tograph — a drawing not entirely. 

A good example of the integration of photography with typography is pro- 
vided by the advertising leaflet for the old Bauhaus by Joost Schmidt shown 
opposite. The grey tones of the photographs combine well with the type. 
The apparently unnecessary vertical double rule in the middle was needed 
as a thin grey form in contrast with the heavier greys of the photography. 
When the available facilities of type are not exactly what is required, pho- 
tomontage can offer many possibilities for effective results in advertising 
design. 

On the two following pages the Gerasch fair-invitation shows a premedi- 
tated composition of photographs on the inner pages which fits in nicely 
with the continuity of the whole. (Not only single pages must be legible 


unities, but multi-page booklets must be so designed that their arrange- 
ment makes the reader unconsciously read on. Printed matter of this kind 
in the past was just a stringing together of centred groups.) The colour 
areas on the inner pages help the “plastic” form of the photographs. It is 
perhaps interesting to note, in detail, how the compulsion to read on was 
achieved on the first page of the invitation. 

Some jobs by their nature cannot be expressed simply by photography, so 
curves, diagrams, and plans may be used. An interesting borderline case of 
this kind is the typographic plan by Seiwert for a gallery in Cologne, which 
is as effective as the Gerasch invitation already mentioned. Curves, dia- 
grams, and so on are significant for our scientific age. Their graphic form 
can enrich our typography, as industrial prospectuses like Burchartz’s 
Weichenbau and Molzahn’s Elektrodrehbank prospectuses (both on the fol- 
lowing pages) show. 


160 


Funktion gestaltet sind. Sie unterscheiden sich gr 


die Gangart. durch thr Volumen den Wert an. 


DER 


OER 


OIE 


NEUE SCHACHSPIELE Ges:s&scu0ter 
Das BAUHAUS-SCHACHSPIEL von JOSEF HARTWIG ist ein Spiel mit NEUEN BRETTSTEINEN, die entsprechend ihrer 


aber sehr schwer spielbar und auSerst kostspielig herzustelien waren. Ebenso von den heute aligemein gebrauchlicnen 
gedrechselten Spieien, die als ern Gemisch von Brettsteinen und Figuren ihren Sinn verioren haben. 


OIE NEUEN SPIELSTEINE sind gebildet aus 3 stereometrischen Grundformen: 
Wurtel, Cylinder und Kugel. EinzelIn oder kombiniert geben sie durch ihre Form 


undsatzlich von den alten illustrierenden Spielfiguren. die oft sehr schén 


und TURM zehen winkel- 
recht zum Brettrand: aus: 
gedruckt durch denwWurtel 


SPRINGER bewegt sich 
rechtwinklig in Hakentorm 
auf 4 Felaern: 4 Wurtel 
recntwinklio kombiniert. 


LAUFER vient diagonal 
zumBrettrand. ein Schrag: 
kreuz aus dem Wurtel ge 
scnnitten 


KONIG zieht winkelrecnt 
und diagonal. ein kleiner 
Wirfel Ubereck aut einem 
qr6Geren. 


OAME die beweglichste Figur. besteht 
aus Cylinder und Kugel. Sie sieht in 
Starkem Kontrast zu Konig, Turm und 
Bauer, deren Form ein Wurlel ist das 
Symbol! des Schweren und Massigen 


Der Spielwert der Steine ist durcn Hoéhe und Volumen 
bezeichnet: Kénig uno Dame sind am gréBten, die Bauvern 
am kleinsten Laufer und Springer sing gleich gro8 und 
haben je das halbe Volumen des Turmes. 

Oas bisherige Spielbrett ist ersetzt durch eine GLASTAFEL 
Oie quadratischen Falder bilden zusammen mit den 
kubischen Figuren eine Formeinheit von auBerordentlicher 


Klarheit. 
Wichtig ist. daB die STEINE in der Ansicht 


und mocn wichtiger in der ORAUFSICHT 
deutlich zu unterscherden sind und sich in 
threr maBigen Hohe RELIEFARTIG Uber die 
Spiellfafel ausbreiten. 
Ihre Grobe sind so berecnnet, daB sie. in einem kleinen 
Kasten verpackt, den Raum ganz ausnitzen und ihre 
Volizah! klar ersehen lassen. JOSEF HARTWIG. 


Sen ennOraenenen 


JOOST SCHMIDT 1924: Advertising leaflet (letter format) 


col 


werden wir auch in diesem Jahr. wie bisher. vertreten seln aul der 


GERASCHORUCK 
WARENSCHMUCK 


») 


I © 


Verpackungsmittel-Messe 


im Leipziger Hof, RelchsstreBe 12, 4. Stock, Nr. 474/8 


Versiumen Sie nicht, wenigstens eine unserer Messe- 
Ausstellungen wahrzunehmen, und Denutzen Sie die 
Gelegenneit, uns Inre Anfragen. WUnsche und Auftrige 
personiicn zu uberbdringen 


Emil Gerasch GmbH Leipzig 


Lithographle, Steln- und Offsetdruck, Paplergestaltung 


Merken Sie sich bitte: 


Rek lamemesse 


ra let 
Sie bet Dt lth 


JAN TSCHICHOLD: Advertising leaflet in typography and photography. Black and red on white. First and fourth pages. 


£9} 


AuBer im r 


Ty ite Ss 


ingmeBhaus => 


, i en 7 
1 Luftbild mit sits ee ee te Hf 


Den bekannten 


Geraschstand 


von der Akademie werden 
Sie diesmal darum im 


RingmeBhaus 
(Tréndlinring 9) finden. 

Es werden dort GERASCH- 
DRUCKE =d.s.vorbildliche 
Leistungen-gezeigt werden 


JAN TSCHICHOLD: Advertising leaflet in typography and photography. Black and red on white. Second and third pages. 


NEUMARKT 


— i“ i 


LLJ 
(Va) 
< 
Lu 
y = 
vw, 
— O 
7a) 
uw O 
ra >. 
O 
7 cs 
VY 
DOM oO” 
FWS 


FRANZ W. SEIWERT: Plan for finding a Cologne gallery 


164 


A classic sequence of “typo-photos” (as the combination of photography 
with typography is called) has been made by Max Burchartz, the designer, 
and Johannes Canis, author of the text, for a portfolio of advertising leaflets 
for the “Bochumer Verein fur Bergbau und Gusstahl-fabrikation” (Bochumer 
Mining and Steelworks). A reproduction of the cover is shown in the sec- 
tion on Typography and Photography, p. 90. The reproduction of some of 
the inside pages that follow does not do justice to their beauty. There are 
about a dozen separate pages in A4 showing the different products of the 
firm. Each sheet is printed in black and a different colour (identification by 
colour). The colour is used not for decoration but functionally to express 
the form and create colour-form-contrast. | do not hesitate to name this 
whole work as an example of the spirit of our epoch. Molzahn achieves an 
almost pictorial effect in his Elektrodrehbank prospectus, by means of most 
powerful contrasts of colour and form (p. 171). Here photography plays an 
important part in the composition of the whole, but almost as strong an 


LAJOS KASSAK: 
Goods catalogue. 1926 


aRetochtungsvoi 


a 


99} 


MAX BURCHARTZ and JOHANNES 


Br: Jon yeadneichon cubpeten cad ain- 
fanned Meresicccen era gen die Spitzon- 
bTBNH STNOA Claas so" sem Pioore::- 
sehen Schattounat, Cas astdon Nachtail, 
C33, 2052'S siCn be: mason Mersatucemn 
i@ Seteaunea eur yen: gerlnyg fcoexers, 
io Soltzen alen aut cag wWhesegn® yad 
sehnon verscnieiven, Hei dan eon nt 
rargostelition ie veSOn mit yorlin 
gertan Soitrer oat ulewer Unaistanu we 
shschattol Df. Soitsanetiner 
Siheerar Licexscnionen fersag 
Oo ATOR Com Marek dar Pldgetar 
~ Sacet, dad sie die 
: SUMART Ue 
ito sucha 
tn Sees hraubueg, a Serrauber 
2 om Sen belbeyt tude ses 
Saaeerp ater sequen art sy fet olin 
+. das oer 


Aran tn atari 
veterresen ate - r sucenss arc. 
MOM el WATE . ey  RAINarie 


_—__-__oOoOoOoeo 
D. R. P. No. 221486 UND 228813 


Dew frinesitige Poraniletds der Schwanavarbindeagen eat Lusctes om dan Strafan- 
banter Sat Jaae gatiet, da Scnturon  mstemanter év veryoaw-ifen 
few Traatys Nie dines Vertes ation mal dar Bounsmer Vural cing Lasenanvorhindung 
AGaAstrutert tie gegandber asm vere nition SteS erhabicne Vartan aufwotst Ole 
Somienyunenute waren salt gar sient om Koot anadetaucnt, 49 dnd auluter Lauthtons 
gihe ssins Matar: hSiueg ven otwa sie mm Mba umn ceimyan om Linge 
<  Bloee Obernthurg sent som vouigen Vardintian aar Stodfuge anot vollen: 
1 COMA AaPanhehy dercn werentriacre Laschenbaioen, Schiennn uad Caschon- 
sen Sind dee Esapeacim, dee Hower angtras. Mit tintin dinenr axzentriscnon 
Saon fatgen seth gre SChetevenden su tert esammennaran, dad cia BloStuse 
Witt verseraend[at one a0 hi iatoer Gher den Stat lauten, Olesa Schienen- 
} ewan avieraen: . wen Voted gar foicnted Aunwarhselparkait dar 
Neriges DotserLiadora wet eecentiscrad Lancnoudazen ndat Yor. 
WPAN? APA iene ome Winds Acer Att, léremr Sul alles Wechan aus 
“Ane SO cer Raine gan dedrdn todnt times Uickanlose Stosvornindung 


Bret Estate eerwandong 


BOCHUMER VEREIN 


FUR BERGBAG@ UND GUSSSTAHLFABRIKATION 


BOCHUM 


WEICHEN UND KREUZUNGEN FUR 
STAATS-, INDUSTRIE- UND KLEIN- 
BAHNEN DES IN- U. AUSLANDES 
IN NORMAL- UND SCHMALSPUR. 


VIGNOLSCHIENEN 
RILLENBSCHIENEN 
ZUNGENSCHIENEN 
ZUNGENPLATTEN 
HAKENPLATTEN 
UNTERLAGPLATTEN 
KLEMMPLATTEN 
WEICHENSCHWELLEN 
QUERSCHWELLEN 
GLEITSTUHLEISEN 
VOLLSPITZEN 
RADLENKER 
LASCHEN 


STAHLGUSG-HERZSTOCKE UND SCHIENENNERZ- 
STUCKE MIT GEGOSSENEN, GESCHMIEDETEN UND 
GEWALZTEN ST AHL-VOLLSPITZEN. HERZSTUCKE 
MIT BEWEGLICHER KNIE -SCHIZNE. SCHIZNER 
FOR GRUGEN- UND KLEINGAHREN MEGST KLEIN- 
EISENZEUG. DAZU DESONDERE SCHWELLEN, 


C.0089, 6%) ree Ae 


CANIS: Four-page Weichenbau (railway points) prospectus. Fourth and first pages. 
Original in black and orange. Design elements: type and photomontage. Format: DIN A4. 


Z9} 


WEICHEN MIT 
NACHSPANNBAREN WURZELSTUHLEN 
D. RR. P. No. 413027 


fhe Surge rwued et st ie bce Galenaatiea beg 
Ua Wel HrAga riatwen 7. te nin 
enteat Bae mCi otes Ful cea 2uryormetoes ets 
MCN 2ageR SOO selowAlOuene rave rang a sgrarbal 
tele Tell doy Galanketlcras Dus Hafasingany arfetat 
detch Grey radtormiga Sucnenn, ole ape un den en 
Jarackecd dagetratton 2ungeetas, hele ot dun om shian 
Kenn Ses Gaienastic.a2 mage shrauben 
UGIQQRe wardan, Ga Mate 
A faderiad Suurauittion geaenort 


‘ls 


ngert, 


Gey Cheyne 


achaaihantehancricenpon Annate 
apres’, Daaue.n aitd © 
fenter Venetalatter sf aelb acts: Sootte row 
sondern as aleg teret.t nen ved Cormuto 
Git TO Vere i tutaasy fa thas ens eeee 
der Geteoulen Se Logarua dave teat na hulten 


VORZUGE geyontiber bisher 
verwendcien Bauarten: 
Keir Nieste amie slot Aut penn arte infaige Geodur 
tery ttey Calenmitlotps 


sS Arahat 


on 


Sdotinger Ver tsteeris ons i 
Seren Mather enagas ail tes: 


30 Wisteriteitunesecetort 
Zonyarvaetie! ved ire 


Hung en dant Geinedlink 


rit ter aces 


Shett est preter wi Go: dan Lister ne 
bannian Drobstuniweinnen, Vorschteynna Zuagen bbnnon 
eNOS age wegaell Goleskstinve wieder verwandot 
veetian 


Zuxammenguvnvts: 
Vrurzniantunl 


Eteraltetta 


fi: 
Naat Por iE. 
SO DAY eee 


Dte AUSGEMAUTY ZUNGL 
1iT AGDULRAOGESNCY URERWURPFRKLPPE 


4. wei 


ERSCHRAYUAT 


bie v 


GERCHRLOSSENE ANORRNUNS 


WEICHEN MIT SEITLICH GELAGERTEN DREHZAPFEN 
D.R. P. ANGEMELDET 


onde eargre 
feonantortag 
fakupie gar 
PUAQ OOO Aaene weer 
SeONin Anachsaenear 2° 
ee Stofveruinguag 
seeiestel unc auch as rt f . 


VORZUGE GEGENUBER ANDEREN BAUARTEN: 


Sut evartae 


sete ner ne 
$ . 


Avar> Ses shite 


MAX BURCHARTZ and JOHANNES CANIS: Four-page Weichenbau (railway points) prospectus. The inside double 
spread. Original in black and orange. Design elements: type and photomontage. Format: DIN A4. 


89} 


BOCHUMER VEREIN 


FUR BERGBAU UND GUSSSTAHLFABRIKATION 


BOCHUM 


sowie th den 


te den Pred und Mommorworben, 
mochentechen Werastittan dea Dochunar Varoins 
werden benmiedastucke Tar den Sanittbee und 
SchiffemorchirianGeu if jeder Porm bis fu dan 
grotion Apnessauadgen Goeaerhmiadel vad Hoarbaitnt 
SachQem sto Ourchechnsiotuay unt Whrmebanana. 
tute bohert He Gielthnaugreit ved sonenunage: 
trete Meachattenholt dor Work sticke in atten Taian 


691 


Settoubestae’ @ wit fone. 


Ruderscnitte 


Ruderarme met Fingerhanen 

Rudorpiattcn 

Kurbelwuticn nus cinem Stuck 

Kurbelwetion sus Etnzettciion aulgebaut 
Orcitach gehkroptte Kurbolwation fur Diosetmotoren 

Kotbon- und Schieberstangen 

Trejibstangen 

Kreuzskopte e 

Sauten 

Druckwellon vorschiedoner Kanstruktonun 

Luut- und Schraubeawciion mil und onne UronzedUchsen 


Alla genannten Toile werden in jeder Gréiie sowohl (ur kiaine Fluf- *, > dusheteis brctal , 
tie Gf futka * sels ‘1Ge0. a nie 
boote wie tdr dle graften Sceschilia aus Werkstolfen nach den Yor. . Ses OEMS Diike ike. Sonia Ag! BLA toe 
ss 3 Sec of agiten “roe. Ne. 

echeiften des In- und Austandan herhestatlt, 5 9 y 


Veertach gebtopite Kurbelweodu (ic Dohitomotere 


‘ N «¢ < 
7 . 


Axtelis = 


home hone een te ath 


Kurbeletoce winer sacttefach : 
gekrontion gebuvlen Kurbelacile 


Aulgebaoute deailach gebroptie Rurbatwotte 


MAX BURCHARTZ and JOHANNES CANIS: 


Prospectus (crankshafts). On facing page, the title. On this page, inside double spread. Original in black and red. 
Type and photomontage. Format: DIN A4. 


OZ! 


KATALOG DER AUSSTELLUNG 


1921 


MKDCHEN 

IM FREIEN 
MILITARISCHER FILM 
TOTENHAND 

OBEN UND UNTEN 
FRAU MIT KLEINEM KIND. 
MANN MIT MADCHEN 
FRAU 

MASCHINE 

SCHWARZ UND WEISS. 
KOMMT VON OBEN 

IN DER SONNE 

ALTE 

FONF 

FAMILIE | 

FAMILIE II 

SPITZE 

BEI MONDSCHIEIN 
BROCKEN 
ANGEKLEBT 
AUFGESCHNURT 

DAS MANNCHEN 
EINER NACH DEM ANDERN 


1922 STRASSE 
ee 
eS 

1923 SPRINGENDES PFERD 


MANNER UND PFERDE © 
| HOLZSCHNITT MIT PFERDE» 


HOLZSCHNITTE ®— 


NICHT L'ART POUR L'ART: WEOER DAS KUNSTWERK 
NOCH DAS KUNSTLERISCHE SCHAFFEN IST SELBST- 
ZWECK: DIE KUNST IST GESELLSCHAFILICHE ER 
SCHEINUNG NICHT NUR IN IHRER ENTSTEHUNG. IHREN 
BESTIMMGRUNDEN UND BEDINGUNGEN. SONDERN AUCH 
IN IN[REN ZWECKEN UND AUFGABEN. KARL LISBKNECHT 


FRANZ W. SEIWERT: Two pages of an exhibition catalogue 


ee es 


ARBEIT ERAQLONME 


CEAD ARNIZ 


ELEKTRO 
DREH- 
BAN K 


E 26 


SAGENDIAGRAMM 


ole ee 
eo) o} 
a * H 
5 * ¥£o 
a5 co 
we 
w mY 
a Ae) 
“*eoa xa 
i a ee 0 
—~ZoOo<x@% wv 
=Z=GQunmaA uw 


‘agnuyy osd papuidsydney sap vabunyaspwp) 


23 2 4 afagig i 


Sinute. 
a 


wr 


“co 


et 
Durchmesser des Arbeitsstickes in ™m. 


lero 


300 


eo 


50 


& — 7 2 x 


anu os0 Ww ut yaybypuimyrsabjpuy2s 


JOHANNES MOLZAHN 


Page from a prospectus. Format A4. Black and green on white paper. 


171 


cZl 


PELIKAN-TUSCHE 


Unantasibare Oote «erscnatie cer 


an want mil gant Desoncerer 
Sorgtatt Uber diesem. seinem schwarten 
Jurgen unc tenem Genreimnn. Oie 
Desonderes Vorlige Ger semwarten 
Petsan Tutcnensind & cetete. giecn- 
map’ Ceckance Scnmarie und damit 
one DeEsOndere E.gnungtur Letcnnungen, 


«binge We 
maten mt Agu 
Ofencrenes A 
wnbegre *. ae 
BroGe Le-cnriiGesigne! wag Gay lange 
fiven-gdietnen in Ger AeBledes. & ate 
MOghcracd Ge GuNnsten Linten aus 
aurercnnmen, onnc ae5 die Lime Unter 
Sreemunpen fetgt COer suaidull, B dir 
groGe Aaderterstonett. B dice Licnioe- 
slancegnelt) B Cle Verdunnvarket mit 
ADQesOCMIOM Wasser SIs tum 
Grau Bl aro n-Avarientes 
Bind von un Levent 
Aeinmest cer Farcen. te werden In 82 
Feroténen grvetert 


Nr. 301 


bikécare & 


MARKE DER WELT 


SIOMETENTWUAL FUM OAR WORT PELIKAN VON KURT SCHWITTEANS 


Buen. .no Genretouate 
Eoseng wile. Met BIdulicn, wire 
Welscnwart Lielert Senritt von wave: 
grensterOauer. AngenenmieicninOasic 
SOOL Buch- und Moplertinte. Elsen. 
Oahu stinte Me Stombulicn. wie schwars 
Lreferl evl der Moplerpresse 2 bia 3 
Ropren, Mann auchin Guchern cetmanct 
werden, onme Garin adsudlatechen 
BOO! Starke Moptertinte. Ecnte Biau- 
nmolatinie, HiaSl eloleti-scnwart. Senet 
wn Kopien dunsetn schwart nach Gipt 
avi Cer Moplermaschine 3 di 


len. 
Aven mach tangerer Zell nocn wenies 3001 4001 5001 


ranig. Might 1Or BOehce bestimmt 


effect can be produced using only areas of colour and ordinary line blocks. 
On rough papers which (except in offset printing) are not suitable for 
halftone blocks, photography has to be replaced by functional (non-artis- 
tic!) drawing. The two pages opposite from a Pelikan special number show 
what a fine result can be achieved in this way. 

In the two works by Molzahn and Schwitters and the catalogue by Kassak 
we are moving out of the field of pure typography and coming close to 
painting. It is dangerous for printers to venture into this area, since such 
work demands an exceptionally deep study of the laws of space, propor- 
tion, colour, and form. It would be better to entrust such work to an artist 
with relevant experience. 

Just as photography is finally only a part of typography, whose effect is 
achieved by its harmony with the whole, so it is possible to enrich typogra- 
phy with, for example, graphic reproductions or original graphics, as in the 
exhibition catalogue by Franz W. Seiwert. Here, to achieve visual balance 
on the double spread, the black square below left became necessary. 

So any available block (even if of little artistic value) and any typographic 
element (so long as it is not merely for ornament) can be used in the New 
Typography; it simply depends on introducing them harmoniously into the 
whole. 


173 


THE TYPO-POSTER 


Format 
The official poster sizes laid down since 1 May 1927 are: 


84 < 120 cm. Half sheet 42 < 60 cm. 


These sizes represent DIN sizes AO, Al, A2, and A3 rounded to cm. Smaller 
posters (as long as they are not intended for poster pillars) should be in 
exactly A4 (210 x 297 mm) or A5 (148 x 210 mm). 

Label sizes are dealt with in Standard 825 (Label Formats) in a later sec- 
tion (p. 192). 


FORTBILDUNGS -KURSE 


der Stadt Miinchen 


fiir Handlungsgehilfen: |f| fir Handlungsgehilfinnen: 


|, Allgemeine Kaufmdannische Kurse: 
Buenfihrung und Kontoharrent: 


a) Rure!l tur Anfainger . . * * Freitag + * eT . 
b) Kure If Me Portgeschritt ee +] : ! 

} Mure I fur Fertgeschritiens’ : : Dlensteg 2. Doppelte Buchfuhrung mit Abschlussubungen  Dienstag 
4) BAcherrevision und Steuerweaen A Dienstag 


Rechnen und Wechsellehre : 
Denatreleg 4 Schwierigere Abschlisse mit Bilanzkunde Freilag 


t. Buchfuhrung fur Anfangerinnen =. Montag 


3. Amertkanische Buchfuhrung =. =. =, Oonnarstag 


Il. Kurse flr Versicherungswesen : 


a) Feververetcbernmog . 


—_ 6. Bank- und Borsenwesen . 2. wt; Freitag 
b) Lebencversicberung . - p . Montag 

c) Colall- und Hahtptlicht§ . i r i Mitt woch . 

@) Transportversicberung . . . . Frettag 6. Plakatschreiben a ne, a ae ee Dienstag 


Ill Kurs fUr Bank- und Borsenwesen: 7. Kaytmannisches Rechnen u. Wechsellehre Dienstag 


Aittwocb 
Die Kurse dauern vom |. Oktober bis Marz cinschiessich. 


Samtiche Kurse hnden an den genannien Tagen ebends von 7—9% Uhr alelt 


Des Schulgeld fur jeden delegien Kurs {wochentich 2 stundig: belragt: 
tur Munchener und Oberbsyerm .. Uk 36v. 
lor enoere Reichsdeulsche .. ... Mk $40 und 
fue Auslander.... .. 2. 2 2. . M720, 
die Einschreibgebuhr | Merk 
Das Schulgeld ut im voreus ber der Esnschreibung tu enisichien und gletchzeltig ein Nechwes uber die Zugehorighet 1um HKeufmannsstande und aber die 
Staatsangebérigkelt vorzulegen 


Die Eanschreibung findet von Monteg den 20 mil Freiteg den 24 Sapicmber jeweils von §-7 Uhr abends slelt und rwer: 


fir Handlungseehilfen tir Handlungs¢ehilfinnen 


aul dem Orrektoret der Stadt Kaufmannischen Serulsschule, 
aw dem Oirektorat der Kaulmannsschule. Rosental 7, Zimmer 15 0 1 Herzog Wilhelmatrasse 30 Zimmer SIL 


Pillar poster in conventional style: 

Centred arrangement, even where it is obviously senseless: borders: “decoration” in the form of 
thick/thin rules. Inefficient. unfunctional, unpleasing. The thick/thin border rules make the 
poster look smaller than the redesigned version opposite. 


174 


Design 

More than in any other kind of printing, poster design requires the 
strongest effect and utmost clarity. Unfortunately most of today’s posters 
have neither. | am far from blaming the compositors for this, because | 
know the difficulties that militate against their efforts to produce good 
designs. The tempo in which posters are set and printed in the cities’ print- 
ing works are against it. But such difficulties are not insuperable. In the fol- 
lowing pages | try to give some guidelines for the design of typo-posters. 

A basic fault in nearly all typo-posters is the retention of conventional cen- 
tred typography. In the beginning, posters were modeled on title-pages, 
taken from old book-design, and this still happens today. In order to make 
a poster stand out from its neighbours, it was usually given more or less 
hideous border rules. 

By following the still-prevalent principle of centred typography, modern 
posters cannot be effective — unless by using unusual coloured papers or 


F ORTBILDUNGSKURSE 


DER STADT MUNCHEN 


Filr Handlungsgehilfen: Fir Handlungsgehilfinnen: 


LL aaa. 
° 


Dle Kurse dauern vom |. Oktober bie MUrz 1926 elnachilesslich Das Schulgeld tur jeden belegten Kurs (wochentlich vata betragt: 


Saimtl. Kuree finden an den genannten Tagen abends von 7—9 Ubr etatt see acne sad Oberbeyers ta, MGS hee 


|, Allgemeine Kaufmdnnische Kurse: 1 J Buchfuhrung fur Anfaogerinnen Montag 
Buchfihrung und Kontekorrent: . é e 
a) Rural tr Ant3nger Freitag 2 J Ooppelte Buchfubrung mit Abschlussubungen Otenstag 
b) Kurs Il! (Ur Portgeschrittene Dievstag 
Sh BUcnersecision tind Steusemcece Divkaree 3 J Amerikanische Buchfihrung , Donnesstag 
Rechnen und Wechsellehre : Donnerstag 4 J Schwierigere Abschlisse mit Bilanzkunde Freitag 
Il. Kurse flr Versicherungswesen: u a ; 
0) Feuerversicnerang sontes 6 J Bank- und Borsenwesen Freitag 
: Voll. und Haltpiient miwace 6 J Plakatschreiben Dienstag 
Ill. Kurs {Ur Bank- und Borsenwesen: Mittwocb 7 ] Kaufmannisches Rechnen u. Wechsellehre —Dienstag 


Dee wbaigels tot lm Verece bel dar Se iceae gd ve ealrighion and ate stenaonte « ot Netbwols 
Sher dle Iugebécigneh tum Ravina eteade oud Ober dle Liastcsngebirighel! vervaieges 


Die Einschreibung lindet von Montag den 20 mil Freiteg den 24 September poweils von 3? Une sbends stett und awar 
fir Handlungsgehilfen: sul dem Direkiorat der Heaulmennsschule, Rosenial 7, Zimmer 13: 
fiir Handiungsaehilfinnen: aul dem Ovektoret der Stadt. Keutmannischen Berufsschule. Herzog Wilnelmstrasse 30 Zimmer 3.1L a: 


JAN TSCHICHOLD: The same poster redesigned. 

Practical. lucid appearance. Type used in the earlier poster has been mostly retained. The effect 
is gained chiefly by contrasts in type sizes and the use of space. The large F used as eye- 
catcher. It can be seen how unimportant “beautiful type” is. 


175 


inks: they will have a boring uniformity. The purpose of a poster — to 
attract — can hardly be achieved in this way.® 

In addition, to surround the type as usual with borders uses up part of the 
space — which leads to smaller sizes of type, which also, because of the 
borders, look smaller. Perhaps originally all typo-posters were printed on 
white paper, so that their edges had to be marked. The fact that today 
posters can be distinguished from other matter by the use of different- 
coloured papers removes the need to use borders. About another impor- 
tant yet almost never used method to make typo-posters more effective | 
will speak later. 

Very heavy display lines, characteristic of typo-posters, lead to strong con- 
trasts which contradict the nature cf the old typography. Only the new laws 
of typography allow the rhythmic setting together of large and small lines 
of type. The asymmetric construction of the new typo-poster also helps the 
purpose better because the lines can be grouped in such a way as to make 
reading easier. The need to use large type for important matter, smaller 
type for less important matter, gives today’s printers the opportunity for 
greater intensity of typographic expression. The possibilities for variety 
afforded by asymmetric design are incomparably greater than those possi- 
ble in the old symmetrical typography. 

It goes without saying that for posters the clearest typeface, sanserif, is 
the only one that is right. After that come egyptians, bold roman, or Aldine. 
Fraktur, gothic, italic, and similar faces are too difficult to read. They can 
sometimes be used to parody a text (for Nationalism, gothic and fraktur; 
for over-sentimentality perhaps a comic cursive, etc.). These are however 
rare exceptions, whose use must be limited to single lines, to show the 
contrast with sanserif, the type of our time, which in general must be used 
in all circumstances. 

With the given text and clear type a plain, strong typographic form can be 
obtained. In this way, often type alone can be used successfully, as in the 
“Fortbildungskurse” poster (p. 175). But it may also happen that to achieve 
a desired effect, borders, arrows, even circular shapes, must be introduced. 
However, circles must never be used as decoration, as one unfortunately 
sees so often in present-day well-meaning and apparently simple posters (I 


® The artists of the pre-war period produced. as opposed to typo-posters either well or badly set. 
posters drawn in extravagant letterforms. which relied for their effect on unusual kinds of letter- 
ing. Such posters depend on the availability of a suitable artist, and the carrying out of the 
design is complicated by the use of lithographic stone or linoleum. The results can rarely be 
interesting and hardly ever effective. It is naive and wrong to try to work with the pretentious 
means of special (= less legible) kinds of lettering. 


176 


once counted eight of these on a poster wall). If a circular or other such 
“secondary” form is used, it must have a function (as pointer, or for empha- 
sis), otherwise it is purely decorative. In posters especially, decorative ele- 
ments and anything non-functional must be rigorously excluded. The naive 


PHOEBUS 
PALAST 


ANFANGSZEITEN: 4 615 930 
SONNTAGS: (456 4 65 620 


IWAN 


DER SCHRECKLICHE 


JAN TSCHICHOLD: 
Typographic cinema poster, 1927. Black and red on white. 


177 


assumption that a circle by itself can be an “eye-catcher,” must be dis- 
carded. (Why are circles so often placed in the least important position?) 
Even if a circle has once worked as an “eye-catcher,” when continually 
repeated as decoration it is not eye-catching but repellent. 

Effects must be reached with other means, for example a large letter, a fig- 
ure, a special area of black or colour. 

Posters can be effective with little or much text. While little text is always 
better than the book-length of certain posters, a long text can also be 
effective by means of contrasting type sizes and well-organized articula- 
tion. That is of course nearly hopeless when the client brings in a vast text 
and wants to have everything “big.” Good poster designs are often pre- 
vented by unwise decisions. Variety and revue posters for example are 
lessons in ignorance about advertising in many of those who order them. 
Colour in design has much to offer typographic expression. The colour of 
the paper itself is important. It is best to choose a paper that provides the 
greatest contrast in colour to other posters in use at the time. Of course 
this is often a matter of luck, since the colours on a hoarding can change 
completely overnight. Unusual colours, like pink, English green, light blue, 
grey, etc., and mixed shades that are not often used, can all be most effec- 
tive. Admittedly papers in most of these uncommon colours are often more 
expensive, but their effect can be overwhelming, as they kill the monotony 
of the conventional! yellows and violet-red. 

Besides the usual black appearance of most posters, a poster in one or 
more colours can be very attractive. Printing a colour, say red, on a 
coloured, perhaps green, paper, can give a result rarely seen on hoardings, 
which will greatly strengthen the poster's power. 

A poster can be distinguished from its neighbours by the printing of spe- 
cial colours and use of coloured papers. An additional and most effective 
means is in the use of white (unprinted) paper, a characteristic feature of 
the new typographic poster. This device is eye-catching, since there is 
almost no unprinted paper on hoardings or poster-pillars. The normal typo- 
poster on which every fraction of an inch is printed can look only chaotic 
and is therefore useless. Empty space however helps legibility and adds to 
the aesthetic effect. 

The economy of its production gives the typo-poster today an advantage 
for the future, which will benefit the compositor — and most of all the 
printer — when it is in competition with some of the drawn posters. Such is 
its power. 


178 


JAN TSCHICHOLD: 
Typographic cinema poster. Black and blue on red-violet. 


179 


Miinchner Bund 


Vortrag....... 


mit Film cca 
IVIAY-Frankturt 

26. Okt. 8 Uhr Die zeitgema6Ge 
Org 


anisation 
des Wohnungsbaues 


undder kurzfristigen 
Wohnungsbeschaffung 
Auditorium Maximum der Technischen 
Hochschule, Eingang 2, ArcisstraBe 


Garderobegebiihr 70 Pfg. 


How it should not be done! 
What looks at first sight like a type-poster designed on modern lines, when looked at more 
closely is quite unreadable. Where does one begin reading? or continue? Ten sizes of type are 
used when certainly six at most were needed. The unnecessarily enlarged initials of several words 
introduce even more disturbance to the whole. Worst of all is the preconceived form-idea (here, 
the three columns) which forces the lines into fixed shapes and limits the line-lengths. 

Even centred design would have been better! 


THE PICTORIAL POSTER 

Whenever advertising is required for an object which can be illustrated, the 
pictorial poster is essential, because it is incomparably more meaningful 
than any poster consisting only of words. The illustration itself must be as 
objective as possible: above all, free from the personal “touch” of the artist. 
Bernhard’s “fact-posters” (for Stiller Boots, etc.) were already a step in this 
direction long before the war, and it must be freely admitted that they were 
not unsuccessful. But the individuality of the artist in those classic exam- 
ples was a bit excessive and has perhaps now played itself out. The ner- 
vous hand of the painter was echoed in the “nibbled” lettering so charac- 
teristic of the pre-war period, and which degenerated into a mannerism. 
The theories of the pre-war artists still influence many contemporary 
designers, and result in posters which — apart from the few with the 
extreme linear skill of artists like Bernhard and Hohlwein — may interest a 
few for their aesthetic form but do not please the public who really matter. 
As no drawn posters of this kind existed at the beginning of the century, 
they could be effective. People had more time then than they have today, 
and the novel graphic forms led them to look at the posters. Today, condi- 
tions for posters are different. A poster, whether pictorial or lettered, must 
be absorbed at the moment of noticing or walking past; or, if a longer text 
is necessary, must strike and attract by means of its total effect. The poster 
today is still a “fact-poster” (as Lucien Bernhard preached), but the object 
being advertised must no longer be artistically simplified (=distorted), but 
must be shown in the most factual, unmistakable, and impersonal form. All 
trimmings which proclaim the hand of a particular artist contradict the 
poster’s essence. From the mass of posters designed in the spirit of the 
earlier poster artists, hardly one stands out; the choice of colour and 
the painting or drawing of these individual-painterly posters have become 
formula-based and therefore uninteresting. The “hand” of the artist is sim- 
ply superfluous, its purpose a pernicious waste of the public’s time. When 
we realize that for the poster that must be read quickly on a hoarding, only 
the simplest and clearest forms can be right, we have to avoid strictly 
everything that is individual and unclear, because too strongly artistic. The 
need for the most objective, indeed the intensely factual, design is shown 
by the appalling quantity of inscriptions and posters in modern cities. If a 
poster or inscription is not crystal clear, it is useless. 

For type, sanserif has in general the sharpest definition for use in posters. 
Pictures however are stronger and quicker in their effect than type, and 
here again only the most objective representation will Communicate the 
poster's contents quickly and clearly to a passer-by. That is why so many 


possibilities exist for the increased use of photography in poster design — 
although, when it is a question of larger poster sizes, restrictions are 
imposed because on the one hand the techniques of photo-reproduction 
have not yet advanced far enough (up till now, to my knowledge, only a few 
firms in Berlin can produce posters in 84 x 120 cm format by rotary print- 
ing) and on the other because the costs of screen exposures are still pretty 
high, admittedly significant only when runs are short. 

More restrictive is the blind enmity, or at least hostile prejudice, of many 
artists against photography, which can only be explained by lack of imagi- 
nation. The public’s taste is of course influenced by the poor quality of 
much advertising in more or less inferior papers, which it takes to be good 
but which leaves much to be desired. It is also a fundamental error of most 
artists to suppose that the use of photography makes artists unnecessary. 
By so thinking they must believe that they are seeing the end of their skills 
in the techniques of painting and drawing. Even a good photograph gives 
no guarantee of a good poster, and, equally, from only average pho- 
tagraphs good posters can be designed. It is always pictorial strength that 
provides the results. 

The suggestive power that gives photo-posters the advantage over so many 
other kinds of poster lies in the extraordinary contrast of the richly 
nuanced “plastic” grey of photographs with areas of colour (or indeed pure 
white) which only the use of photography can give. Such a richly varied 
means of expression demands, contrary to usual opinion, at least as much 
imaginative ability as painting and drawing. In any case, a very highly 
developed feeling for harmony and proportion is needed, when posters or 
other printed advertising matter are being designed using these contempo- 
rary methods. 

It is surprising how well a small part of a single photograph can sometimes 
work as a poster, as in the PKZ poster by Baumberger. It is a pillar-poster 
made from a colour photograph. Apart from the label sewn into the gar- 
ment, no lettering is used. Since laying down a colour photograph on stone 
is today virtually impossible, the colour separations for lithography had to 
be made by hand. Developments in reproduction technique in the near 
future will make mechanical reproduction possible. 


JAN TSCHICHOLD: Film poster. 1927. Original in dark brown and grey. 


~ADLER-COMPAGNIEAG 


 OATER-paunaus” 


Be eee —_ awe Fee eH 


HERBERT BAYER: Shop-window poster in blue, red, and black on white. 
Hand-drawn type. The line “Adler-Compagnie. AG” was added and does not belong to the 
original composition. 


184 


OTTO BAUMBERGER: 
PKZ pillar poster. 
Original in full colour. 


The cigarette poster by Herbert Bayer is also very effective, the design 
being developed from the oblique line of the neck. The line “Adler- 
Compagnie, AG” was added later, presumably at the request of the firm. It 
does not belong to the original design (as can easily be seen by covering 
it up) and disturbs the dynamic of the whole. 

It is really astonishing that the film companies have up to now made so lit- 
tle use of photography for their posters. The few exceptions known to me 
are gravure posters with a single large photograph, in format 84 x 120 cm, 
but with absolutely no pretensions to any artistic form. But it is so obvious 
to use photography for film posters. For the posters which | was fortunate 
enough to design for the Phoebus-Palast in Munich in 1927, | was able 
owing to various circumstances to make use of only a few of the possibili- 
ties for composition and technique. The production costs of these posters, 
made unfortunately for only one cinema, had to be kept extremely low. As 


a result | had to be economical with the size and number of photographs. 
The posters changed every week and as a rule had to be produced in from 
two to four days ( = design and two- or three-colour printing!), so that the 
film title (following the usual film practice) could be published from four to 
two days before the first showing. Obviously in such circumstances it was 
rarely possible to exploit the full possibilities of design. Nevertheless | 
believe that the Phoebus posters are the first practical attempt to make 
true film posters. Moholy-Nagy has also made very interesting designs for 
film posters. Developments in photographic and printing techniques will 
certainly influence poster design.® 

In spite of the many possibilities in photo-poster design, the drawn poster 
will probably not completely disappear. After the oil-painters of the pre- 
war period have played themselves out and today, insofar as they still have 
a name from earlier, go on repeating themselves with process blocks, like 
Hohliwein, nevertheless the movement today is for exactness and geometry, 
as opposed to the brush-painting of the earlier masters. We now have a. 
feeling for pure mass and proportion. The work of the Frenchman A. M. 
Cassandre is typical of this new poster design. He has produced some out- 
standingly drawn posters, full of the spirit of our times and already worthy 
to be called classical achievements. 

| end this section with statements about the new poster by two French 
painters, which | have taken from the monthly periodical Querschnitt. Both 
are founder members of the Cubist movement. Fernand Léger is, insofar as 
the expression “Cubism” still has validity, its foremost exponent. 


® That from the point of view of the present it is an anachronism to cut posters in lino, like 
medieval woodcuts, | need hardly point out. 


‘ 


44 


sit 
* 


; 
tay 
ities 


1 


Hie 
“ 


f 


i 


Film poster 1927. The lower half light blue, “Casanova” 


JAN TSCHICHOLD 


iolet. 


Vv 


The picture and the rest of the type brown 


Partly overprinting the blue. 


187 


GEORG JACOBYS WELTREISEFILM 


PHOEBUS-PALAST 


ENTWURF: JAN TSCHICHOLD, PLANEGG B.MCH. DRUCK: GEBA.OBPACHER AG. MUNCHEM 


JAN TSCHICHOLD: Photo-plastic cinema poster. Photolithography and drawing on 
stone. Black and red on white. 


eee rcete 


aw 


. 
sks 
nt 


ue 


foe 
So 


STURN 
ANS s 


esyumtt ee 
3 WARNS 


SANBR 


Ndi 
yy 


niles 


se 
ahh Sd 


y 
AN 
sh 


a 
‘5 


Nis 


i erst 


pti 


e 
* 


ANFANGSZEITEN 


SONNTAGS 


Palast panel in red 


d Phoebus- 


ing an 
the vert 


in blue 


Im poster 1927. 


F 


JAN TSCHICHOLD 


d and blue 


in re 


ical rule and arrow 


“Napoleon” and photograph 


overprinted. 


JAN TSCHICHOLD: Film poster 1927 


190 


FERNAND LEGER: 

The eye, the mistress organ with a thousand responsibilities, rules the indi- 
vidual more than ever. From morning to evening it registers without stop- 
ping. Speed rules in the modern world. On the other hand the strain of 
commercialism has grown so far that a mannequin parade by a tailor may 
compete with, if not surpass, the shows of a dozen small theatres. Ac- 
cordingly, posters on the street must be better than an exhibition of paint- 
ings. Which makes it necessary to organize the street like a theatre. The 
street is altogether too dynamic, it is rapacious and wearing on the nerves. 
Our present life is so anxious and so frightening that we need quieter, bet- 
‘ter-ordered streets, where our nerves can be peaceful and not torn apart. 
The poster should therefore be thought of not as jazz but as orchestral 
music. 


ROBERT DELAUNAY: 

A poster is colour or nothing. Form is nothing but a dimension of colour. 
From a physical point of view, therefore, the best poster is that which we 
see most often and from farthest away, like a railway signal. How is the best 
result obtained? By each one of us, singly and alone, caring about the 
rhythm and interrelation of colours. Anything else can be forgotten. We 
must therefore stop using colours by chance or intuition, in order to make 
something “pretty” or “beautiful.” We must be scientific and make them 
vibrate in harmony like music. And we must start from the beginning to 
make posters not a corruption of the eyes but an invitation or a source of 
information. Posters must be treated as such. No more trying to make them 
more or less seductive representations of objects, but have the aim of mak- 
ing them put us under their spell by their vibrating impressions of greater 
or lesser intensity. 


Poster Formats 
Standard sizes for posters are given on p.174. 


LABELS, PLATES, AND FRAMES 

Sizes of labels etc. in cardboard or other materials should be chosen first 
of all from the A-range. But it often happens in particular circumstances 
that these formats do not fit, so standards for long and square shapes must 
be found. These standards are shown in DIN 825, with directions for holes 
and margins. 

The Standards Authority has also provided standards for plates and frames, 
needed for exhibitions and fairs. Because up till recently no such standards 
existed, nearly every plate and frame in exhibitions etc. was in a different 
size, which was unsatisfactory on both practical and aesthetic grounds. 
Directors of exhibitions, also businesses and schools, should in future make 
more use of these standards, for their economic as well as practical advan- 
tages. There is no longer a need to search always for new shapes and sizes. 
The A-range is naturally the only choice for plates and items to be framed. 
Items which do not fit in one frame must be placed in the next size up. 

A noteworthy advantage of the standard is the fixing of punch-hole posi- 
tions, made possible by the standard for rings. 

Of course, the standards for frames and plates are only for practical pur- 
poses. It is not to be expected that artists should paint their pictures in 
standard sizes and put them in standard frames. Pictures in houses will, as 
before, be in their own special sizes and frames. 


FOR STANDARD DIN 682 (PLATES AND FRAMES) SEE P. 194 


192 


Schildformate — 


Ohne Rand Mit Rand 


ol ¢ 


Bezeichnung eines Schildformates 62105 mm: 
Schildformat 52X105 
Hshen a und Breiten b: 


65 9 13 18 26 37 52 74 105 148 210 297 420 594 841 1189 mm 
a und b sind DIN 476 Papierformate, Reihe A, entnommen 


Richtlinien fiir Befestigungslécher und Rand 


mm 
" Seiten: Schild- Locher Selten- Schild- Locher Rand 
vorhalt- format An- Abstand Ourchgang Rand verhiilt- format An- | Abetand Durchgang 
nis axb zanil © 1 @ | f | OD [taow]} ¢ nle exb zai | c | e [ f | d ftccw) ¢g 


37105 4 26 | 93 6 | 3,1 |M2,6| 2,5 


4 pss fis |e [36 [ma [3 
O86 | pvaxcaio [4 [190 10] [M3 _| 
rt | 106x297_ 7 4 | 79/271 | 48 ima [6 | 
rt | 148x420 | 4 | | 384] 18 | 68 (M6 | 6 
Pia P2aioxees_| 4 [162 [eae | 24 [7 [ms | 8 
5] 2 
—— he eis re 
96 _x105_]_2 | | 93] 6 | 31 [M2o| 2 | 
[08 37_x148 | 4 1_21|132| 6 [96 [MS | 20 | 
1 62_x210_ | 4 Pasi) eee ie 
7 tax 2612 | | 20. _— 74_xa97_ | 4 | 64 [277 [10 [4,8 [Ma |" 
V2 [26x 37 [21 | 30, 106x420] 4 Pe tees te tee ete 
31,41) Pars caf 4 {a8 ta 1.6 148x604 | 4 | 1i2|oo0|18 [7 [Me [| o | 
oIN 476 4 [ 42{ eas | i as | 
4xcio5_—}_4_ 82-8316 ral 
05148 2 Ee 
ae CRE oS Lo tt eer TS 
px207__] 4 | 194 | 271 113_| a oe Ee 
«420 {| 4 | 261} 304 }ie_| Ts | ites [oe xi | 2 [| | o3[6 | 351 [We] 2 | 
420xsea_| 4 | 372 [646 |24 [10 ae 
62_»207_|_4 | 32 | 277 [10 | 46 [Ma [ a 
37 1} 08] 74420 Ea rae aoe Lee 
[9 x 16 | 21]. Ue] 105 x594 | 4 [ 69 | 658/16 | MG | CG | 
pis xe ra ae 
ae eae Tz] 
62_x105 T 40, JMR: T_jise| 6[36|M3 | 2 | 
74_x148__|_4_| 66] rs | 26x210_| pie} 8 fa ie tae 
ri08_x210__| 4] 86) a 372x297 (fare 10 1 fi 3s] 
1148 297, 7 4 | 122] | oT 62420 (394 13 [66 (Mb | 4 
; 7 
2] | 93] 6] 391 [Mae| 1,2, 
= 65x18 [iaxras [2 ffi [eas tia Pe 
12Vo [9 x26 | 2 | [194[ 8 | 36 |m3_| 
(1:2,82) Pia 27 5997121 | 277| 10 | 4,8 ee ae 
-_| 394] 19 | 68 3 


Die Schilder kdnnen mit scharfen oder abgerundeton Ecken, mit oder ohne Rand ausgefOhrt werden. 
Die guna noes cea sind gisicn oder. kleiner Te f a wihlen. 

ie Schildformate kénnen quer oder hoch angewandt werden. 
Fur Schilder in langen Formaten kénnen mene als 2 oder mehr als 4 Schrauben vorgesehen werden. 
Befestigung durch Schrauben, Nagel, Niete, Klammern oder Einsteckrahmen. tneh 
Die Werte fir Schilder in Kreis- und Ellipsenform sind sinngemaé der Zahlentafel zu entnenmen. 
Ausfihrung, Werketoff und Dicke sind froi. 


Juli 1925 


193 


Tafeln und Rahmen DIN 


fiir Bilder und Muster 682 


MaBe in mm 


ungerahmte Tafel 


Leistenp rofil 


Bezeichnung emer Tafel im Format A 2 in Queriage Bezerchnung emes Rahmens fOr Einiage A2 in Queriage 


Tafel A2 quer DIN 682..... Rahmen A2 quer DIN 682...-- *) 


Format?) 
der Tafel und 
Einlage fur 
Ranmen 


Leistenprofil 
RichtmaBe 


Qverlage 


677 x 824 

420x694 _| 403x677 | 423x 597 | 463x637 | 
287 x_410_| 299% 422 | 327% 460 | 
[210 297_| 207% 289 | 22x 399 | 239% 319 | 


vane a0e | sox 217 | ivex a [ve [$f a |e 


') Werkstoff, Form und nicht angegebene MaGe der Leisten sowie Ausfihrung und Farbe sind 
bei Bestellung anzugeben 

2) Die Formate der ungerahmten Tafeln und der Einlagen sind DIN 476 Papierformate Reihe A 
entnommen. 

Bei Rahmen. fir Tafeln mit schweren Gegenstanden sind die Osen an der Einlage (Holztafel) zu 
befestigen. 

Dicke der Einlagen sowie der ungerahmten Bilder und Tafeln gleich oder kleiner als q 

Oeckglaser haben die GréBe der Einlage und sind besonders zu bestellen. 


Beispiel fiir die Hakenanordnung 


Januar 1926 


194 


ADVERTISEMENTS 

What was said about the type-poster applies to advertisements: the major- 
ity of today’s advertisements are boring and ineffective because they have 
not yet discarded the inflexible and unsuitable methods of out-of-date cen- 
tred typography. This way of working has become unconsciously wearisome 
to printers; and just as in unloved things something is expressed of their 
makers, so ordinary advertisements betray the compositor’s lack of joy. 

A few years ago one of the reactionary Munich papers made an attempt to 
produce good advertisement pages (in the old typography). They gave the 
design and arrangement of these pages to a fairly well Known book-artist. 
The advertisements themselves were of course centrally designed, and the 
arrangement of each whole page was symmetrical. Some parts of the 
advertisements, important lines of type, were drawn by the artist. 

The intention of the artist was actually pretty well realized, within the pos- 
sibilities of the chosen form; but it must be said that such an attempt, apart 
from being an interesting experiment, has no practical value. 

Above all, the centred typography of earlier advertising is unsuitable for 
our times because, being a preconceived external form, it tends to make 
reading more difficult, or at least does not make it easier, as the New 
Typography does. The speed at which advertisements normally have to be 
made up makes it nearly always impossible to get good line setting on the 


WM. TYPFEWEB kasue tronmana. c pucyouamu M.Caognoro. Tee 25 x=, 
ESSE Po ee RR Re ce) 
mM. MYPATOB ‘TPA PACCKA3A. C pucynuann ©. Ba nia. Tlouo 30 ». 

SECA I RTT AEN! NSS FL WEFT SEE ee PETA 


L°ART RUSSE. O(6aop suctasxu pyceroro acxycctan u Ospame. Craton I. lyxomcroro. 
Poo, wap 24 naawerpagay os otpeabuMx amctax. O6nomxue paGotu Creanzeuroro, I. 100 m. 


KHUrOH3LaTeNbCTBO 


Seema 
E JIM = 


BCe-TAH ONAN ANPTUTcA. (O nouom crane B UCKYCcTBC). C waoronnenen.- 


A 
Hi. SPEHBYPE Aun mAawerp. Ofaomxn paboti ®.Jlexo. Lena 0 « 
[it APREE PVE TARE AIM LIN SLE Po ET IS TS ACROSS A, SI? OD OTE 


HeoGeuatioue noxoxkaAvuna Xyano Xypenkto n ero yucankon (muai0- 
A. SPEHBYPrF oaucanme), Ione 70 m. 


sy SAUER SSAA UAT FER ISS CRS LES BABES S SESE NIA T S| ARE SLI NRT GION OD eS NEED 
A. PEMKUSOB Pocenx » uncimonax tr. 1. OGsto%xRK. paGotm B.Macotranra Menu 60m. 
(BEER Se ee 

Poamyko. Kura ctiixon. (He Gymare pyinoii dopmonru). OGazowKa 
Mi. UBETAEBA paboru A.ApnmtTama Tene Kx. 2 oepeniore. 


SEE EE PO 
‘ Nal amtepatypinit omomocainux nog pox. A. Boa oro. OGaoxxKe paGotu 
»,ANONnERS Da Jnexgroro 


EER ae eI ST Ee Re 
A. BENbIM Tyronue samerzn. tr. II. (Cauunug a Tyre). 

Fa sehr ours SSRN AGEL SAP RZISAT SIS IN SAREE SRN A LC SANS So CaCI SE he BIS) 
H. FOFONb aoc. c waawerp. B, Macwrnus. - 
Se ee ee eS Se ee en ee EY 
u. TYPrEHEB Tlecn. topmocrsymmol ao6su. C arnmerp. B. Macwtane 

eR ADR SUAT: SUBSE ODS DEAL BEST SOMES SLATS LEU SIND Se LIN VESSELS EON NEE SE SEE 
A. TONCTOK Uonocts o muormx mponocxo;nnx seniex., (Poxan), 


NOCTYDHAM BHPOAARY 


Tlevaratorca HM BTCYeHHH anpean 
Noctynat B nposany 


KOH: 


EL LISSITZKY: Publisher’s advertisement 1922. The “angle” on the left is the first 
letter (G) of the publisher's name, Gelikon (= Helikon). 


195 


ciate GlcknanoWaNDE 10 N S ATI ES PAN N [ NG 


aa ne key SE 
NEDERLAN DSCHE KABELFABRIEK DELFT 


PIET ZWART: Advertisement (reduced) 


old principles. Closely spaced lines, especially when followed by very short 
lines, always look ugly. (On the laborious block-setting method, which for 
long has been a favourite solution especially for cinema advertising, we 
need waste no further time.) The old typography always produces a very 
“gappy” pattern of lines, which with the pressure of small formats and the 
fixed copy-requirements of the customer make it either difficult or impossi- 
ble to use large sizes of type. Now, the New Typography not only makes 
possible, but requires, strong contrasts of every kind (in type sizes etc.), 
and gives the compositor freedom to produce intelligent layouts. 

The symmetry of the complete page, practised by the artists, is to be 
avoided not only on aesthetic grounds. In practice it is hardly ever possible 
to produce a whole page symmetrically. To achieve that, symmetry not only 
of format but of each adjacent advertisement would be necessary. It hardly 
needs saying that this will rarely happen. The opposite is the rule. The var- 
ious different headings inevitably give an asymmetric effect, which however 
need not be inharmonious. 

Even a single advertisement gains in effect when the centred arrangement 
is discarded. It will look more attractive, and the lines of type, as in the 
Baumeister example shown earlier (p. 67), can be more logically positioned. 
Besides discarding centred design, a more intensive use of black-and- 
white effects is required. There are endless possibilities, through enlarged 


EUGEN RENTSCH VERLAG : ERLENBACH - ZURICH . MUNCHEN UND LEIPZIG 


h ans DER PYRAMIDENROCK 
DER PYRAMIDENROCK 
DER PYRAMIDENROCK 
DER PYRAMIDENREOCK 
DER PYRAMIDENROCK 
DER PYRAMIDENROCK 
DER PYRAMIDENROCK 
DER PYRAMIDENROCK 
GEHEFTET GM 2.50 
DEB PYRAMIDENRBROCK GeEsBunDEN GM 3.50 


IN DEN GROTESKEN STROPHEN VON HANS ARP STEHT DAS GESAMTE BILD DER WELT IM ZEICHEN 
EINER PHANTOMATISCHEN VERWANDLUNG. GLEICH EINEM GAUKLER MISCHT ER DIE SUBSTANZEN 
DER. WORTE, DINGE, WERTE DURCHEINANDER, WORAUF ER DIESES SCHEINBAR SINNLOSE GEWIRR 
ZU EINEM MARCHENHAFTEN ORNAMENT VERDICHTET, IN WELCHEM SICH DIE WILLKORLICH GE- 
WORFELTEN ERSCHEINUNGSFORMEN IN SELTSAM HINTERGRONDIGEN BEZIEHUNGEN, IN SYMPATHE- 


TISCHEN ZUSAMMENKLANGEN UND IN OKKULTEN NACHBARSCHAFTEN ZUEINANDER FINDEN. DIESER 

METAMORPHOTISCHE HUMOR HANS ARPS, DER VON DER SPRACHE SELBST BESITZ ERGREIFT, IST MEHR 

ALS EINE SPIELENDE ARTISTENLAUNE, REICHEN DOCH SEINE WURZELN BIS ZUM TIEFEN GRUND DES 

MYTHISCHEN UND MAGISCHEN BEWUSSTSEINS, AUS DEM IN LANGST VERJAHRTER ZEIT DAS RATSEL, 
MARCHEN UND DER ZAUBERSPRUCH ERWACHSEN SIND. 


EN 
EN 
EN 
EN 
EN 
EN 
EN 
EN 
EN 
EN 


UNST fEN 


UNST 


1924 
1923 
1922 
1921 
1920 
1919 
1918 
1917 
1916 
1915 
1914 


HERAUSGEGEBEN VON EL LISSITZKY UND HANS ARP 


DIE KUNST-ISMEN IST EIN BILDERBUCH (21:27 cm), DAS DIE PLASTISCHEN GESTALTUNGEN DES ALLER 

»ISTISCHEN" KUNSTDEZENNIUMS 1914- 24 DARSTELLT. KEIN SCHREIBTISCHPRODUKT EINES KUNST- 

KRITIKERS. 15 ISMEN, 13 LANDER UND 60 KONSTLER SIND HIER MIT IHREM CHARAKTERISTISCHEN 

SCHAFFEN VERTRETEN. EINE REIHE WENIG BEKANNTER WERKE DER BEKANNTEN KONSTLER. DIE 

EINLEITUNG (IN DEUTSCHER, FRANZOSISCHER UND ENGLISCHER SPRACHE) IST EIN ZWIEGESPRACH 
VON DEN HERREN + UND —. 


GEHEFTET GM 4.50: GEBUNDEN GM 5.50 


EL LISSITZKY (1925): Page from a book publisher's catalogue 
197 


HOBLIE KHETrH 


= 
Auxpei Beau, ,Cupun yuevoro neprapcrsa”“ (no nosoay kaare Baqecasss e 
Hoaanons) Ilena 12 ne (4 op.) ° 
Anoncek Pexnaos, Cu6npcxnti cxsa. ifene 18 wap. (f op) a § 
A Tepox (O. Ooprm)) .Pansu-) tineca n rpex nelicrpanx fens 24 xsp (8 $p.) uo 
A. Kycanon, -Ans Gappax*; ues 9 wap. (3/¢p7) ys 
9a Wucugxok; po zua Kuarpata - Bee, ncow peOarkonu, Xyaomecrscanoe og 

usAnune. one 40 wap, (12)$p) <_<" oY 

MS} 0 

A Sl 

£5 3 8 
7A ua = 

a Sel 4h 0 
O os La) 

Xo: ¥ = 

YU3 ATEANbCTBO & Scam Rk 5 

av te) 5 oe by 

Fae AY 

Aw oios at 

OasfxSS 

° om > 

Sie 5&5); 

o 3 zi5e™ g 

Qa = ™ i) as 

2 °° 

gaa 075 

See ba 

soe De 

els ass 

oe st Ox 

23 xV¥Ow 

ay hp 

m@varag 

EU ce 2 E55 

axe f= = 
2am f 

<2< wu < 


BEPJIMA cops 


HOBBE WEWh (C 20 MAPTA 1922.) 


Acescensp Bnon, ,Cxmdu _Jiveuarzare™ cena 12 map. (4 op) 
Aneacenap Baow, ,Poccnn w Horexamreanag™ uena 12 nap, (4 op) 
Anezcauxzp Baox, .O an6nu, nodamm uw rocynapcrseunol cayu6o none 6 wap 


(2:¢p.) 
Auzpet Beanwii nC. Ecenun, ~Poccna w Haonna* nena 12 xaop, (4 op.) 
Mussos-Psaymuun, ,O cusicie maana” 6 wap. (2 op) 
HMasnon-Psaymuen, ,Cn0o anno” nea 6 Map. (2 rp) 
Hpanos-Porymumx, ro rexoce Hurenaureuuua” Gaep. (2 ¢p) 
H) Knwes) (Ta6auue necun") nena §/unp, (2)op) 
H: Knnen ,,Wecus conunesocua" nea 6)xap: (2/>p,) 
C. Eceuus, jTpaourex™ rena 6 map) (2 dp) 
A, ates aePs ~Pecny6ayxa Coneron™ iteua 18 wap. (2 dp) 
H IlrokuGopr.)|Or gespana no oxtra6ps 1917/r.") noua 18 xap. (6 ¢p.) 
H. Matopon,),demag a Xa06" nena 15)uop. (5 pp.) 


IN DBUTSCHER SPRACHE 
Eugen Lundberg, ,Mereschkowski und scin neues Christentum*. Preis 26 Mark. 
JUNGSTE RUSSISCH KE LITBRATLUR: 
Alexander Block, ee Ubertragen von Reinhold + Walter. Gebunden 
rels M. 8 — 
Alexander, Block, .Skythen* Die Zwolf". Obertragen und eingeleltet von 
Reinhold vy. Walter. Gcebunden Preis’ M. 8: 
wiletecheslew. Lv.cnos -Kliftes Essays. Ubertragen von Wolfgang B: Groger. 
els M.8.— 
Briissow und Balmont, <Gedichte*. Cbertragen von Wolfgang B. Grogcr. 
Preis M. 12:— 


a 
s) 
ee 
s 
Ww 
be 
® 
i= 
Cy) 
<= 
S) 
(= 
He | 
= 
ro) 
ise) 
S 
S 
o 
jee) 
r 
2 
E 
© 
& 
cy) 
£ 
S 
= 
Yn 
es) 
S 
Ba 
Ce) 
> 


Puschkin, oor Salieris. Ubertregon yon Reinhold yon Walter, Gebunden 
rel; M. 6.— 


DIB POLITISCHE ORGANISATION SOWJBT-RUSSLANDS: 
Alexander Schreider, .Das Ritesystem’. Preis M. 12,— 
IN UNGARISCHEBER SPRACHE: 
Alexander Block, ,Oroszorszag~. Preis M: 13,— 
Buchh&odlerrabatt $3'/:°/, und) 11/10 


Auslieferung bel CARL FR: FLBISCHER, LEIPZIG 


EL LISSITZKY: Publisher’s advertisement on back cover of a journal. 

The main line “Skify” (name of publisher) is drawn. 

The axial arrangement of some of the paragraphs is due to the compositor. This example is 
shown only on account of the whole composition. The arrangement of the small paragraphs is 
poor. 


letters, words, accompanying heavy rules, and so on, to heighten an adver- 
tisement’s effect. The effect can be further enriched by flat tint-blocks, as 
in Baumeister’s Tietz-advertisement (p. 205), or through photography and 
colour, as in Burchartz’s advertisement for “Vierradbremse Poulet” (p. 206). 
Almost more important than these generalities is the question of how 
advertisements are placed in relation to each other. No one would agree 
that the universally used fine-rule separations are particularly beautiful, but 
they are often essential. They should however be avoided when neighbour- 
ing advertisements themselves use rules or similar devices which might 
lead to confusion. 

In smaller advertisements in New Typography a rule (as in Baumeister) is 
often useful. But often, especially in horizontal half-page advertisements, a 
plain horizontal rule is enough — and is preferable. See Lissitzky’s pub- 
lisher’s catalogue, p. 197. In larger advertisements, borders — which are in 
any case a characteristic expression of the earlier individualistic epoch — 
should be avoided. In newspapers with the usual half- and quarter-page 
arrangement, the use of fine rules for separation is nearly always unneces- 
sary, since the advertisements are usually separated by white margins. 
The great economic advantages that would result for the advertisement 
from a universal acceptance of standards for formats and type areas in 
newspapers is described in the following section. 

There are a few newspapers that adopt a consistent style for the design of 
all their advertisements. That is of course the happier solution for this dif- 
ficult problem. Many Dutch architectural magazines have for long used only 
sanserif, and the Prague journal Stavba uses only Sorbonne as typeface for 
advertisements. In both, except for bold rules, all ornament (and rule- 
combinations) are completely excluded. The advertising pages of these 
papers make a very good impression. 

It seems, above all, to be exceptionally difficult to deal harmoniously with 
“small advertisements.” The only practical way is to limit type sizes to one 


fixed size of an ordinary face (roman or sanserif) and at most three sizes of 
a fixed heading type (bold sans or bold roman). In order to get a good 
result, the often childish demands of advertisers may be ignored. These are 
the more unreasonable since small advertisements do not compete with 
each other but are read like a book. It is worth noticing that the small 
advertisements in Garten/aube are up till now the best laid out, although in 


fraktur. 


A justifiable complaint made against German newspapers and journals is 
that their advertising pages, with their great patches of black, are very 
ugly, and comparison is made with North America, whose newspapers by 


Newspaper advertisement 
(Mdudnchener Neueste Nachrichten) 
Bad, because: 

unnecessary ornaments. 

too many kinds of type and type sizes (7) 
centred design, 

which makes reading difficult and is 
unsightly. 


The same advertisement, redesigned 
(Jan Tschichold) 

Good, because: 

no use of ornament, 

clear type, few sizes, 

(in all, only 5 different types) 

good legibility, 

good appearance. 


200 


Angenehme Zahlungsbedingung. *[18767|2-2 | 


Kaufmannische 
Aushbildung 


Private kauflmiannische Kurse 


Dr. Sabel 
Inh. Therese Sabel 


Miinchen, Kaufingerstr. 14/2 
Telefon 91064 


fiir schulentlassene Knaben | 
Jahreskur. Se 1, Madchen. Beginn:16.April | 


Halbjahreskurse: Beginn:1. Mai 
Unterricht in Einzelfdchern. Anmeld.tdglich. | 


Kaufmannische 
Ausbildung 


Private kaufmannische Kurse 


Dr. Sabel inh. therese sabe! 
Munchen, KaufingerstraBe 14,2 Tel, 91064 


Jahreskurse fiir schulentlassene Knaben 
und Madchen Beginn 16. April 
Halbjahreskurse Beginn 1. Mai 


Unterricht in Einzelfachern, Anmeld. taglich. 
Angenehme Zahlungsbedingung. *[18767]2-2 


Nig Ls ae Wats 0th BROCE ne eeneucs aco [OSSD Gh bee THAT EOD Wil Dore BE fetes, Tad Reena eon mass Ba 
S . fete ane = x Vids wd rit! a ¢  feartes., c Be 3 

Z . Aerins gene’ Tih In ber Balmenpaties mad | Seer to toh . = ber Thirtitele an feeffen 
\e 


‘ x za: Zi : 
bekedte Mallee Bie adm im tiner etsfamen ai Du fetes an Abeer?” oeSa ttrenleg fpenate acm Octw felines 


de Bag amd bereseve NA ent einen fether, trim, (& mi rod (Oe ein peasy inten |Meociorrs eud were, Tarasf emtRand eine 
aus te : 4 und f tttiontaicten Meead per, usr etme belek | Arie. : 7 aa ; 
See Senecoed id cu tevae cnes idee [Sg te ua te Sencar, 4, | MLSS oenbe in tae Sime me. awe [Se eet Bitar we ante as 
echkel nodes, hareiimde itn olexits cta Z 4 Las tri tke are "Titer Seeuadin fortactengen. einer TieGe fonrrte ex [ered 1a der nm Ste 
a . ware i red bye, se ciusac Uréele. fareiaeite ae detun Miter Boren. Dean Seorgte oie Dare 


ven Ser Ary bie wus Giunreder fenner. bd, i ne > 
: mernisa teat com Poevect tT. at ks Cinise Danurea friser feos eit Mann inj tele larqlam, woetecf fia Me Zar Sos am 


, sent st ri : 2? E Y 
Asinad 4ud Forel degcaerr ard Semmrdete ete [eedter vals anf (eireot Gets term Zamerd | Act ahaete. Weromten tonite Med aichs al’ er 


; mi eee 
Rorandamasutekes aeritel |S ‘Sy ae Geidioecy geeme |G Bam ts tir ta oa Bek | Butt len Teta aa ees 
Sir, Dreales ensGhG! Ga’ adgrenite, Ete atte ibee Dok sud Curace | pat veriGment (et Wewsrt Bes tmnier breiter umd Seutti@er. Skelter, reeuier 


: tt Mert. Bis Heotme Ste Siete | Dora ocimadrte. ‘ an Kt te 
Us (bier chventha Galidiors, bel eime Sty Serees Sertate weorerte: We eSe an oreenbde Sem Gremico Ure fis Dretek = ort rary Ay Ala a nad ese Suntle Sechelt 
felis sett Hbree Mutants m onsen Kertioftes fabretert wares. Ste mer chen ta Wearilt. teh [dor firsem umd begsaa seine askoesige ate: vanicincet Sait! (cal 4 tHiebe" ast 
Sa erkeSer. <sa fe Grreassa a8 Bringer. els der jlucdwaa: Kage. Horavgrenet Simere 14d Vers Hed) ciagu rit ound ¢ .” fagte - 
t rest seth eg Sersurinct. ReStenfeler smd fesewe det ckere” Brocticy, werou! claen Muaesdlld feng cites 


Wj o CHENENDE 


wer. 
0G moerbe aRmsbile als.” feste fie mall claem | Rasisortter Ce esr Bberts. 


betel 
Ge ha tom A450 RR Bluse cone co 150° 
| | 

PR ancas, MESO BER Gris feet icin 


me i“ YamonschGrzen "handschuhe 
Gjenss eee, so PHttigdrtot ee eed Foemtw ack aula eae DB Saha a taneareste ES 

. Rachthem trumnfa. feiderachirze ‘handsahuke 
pinche SucteesiGerniee, Ghee S — ee gas Veederechivs, ta Zeuge OO te Neve mit 2 Drctin, EBOO 


frick atoah ausesohGrxe ‘hbandsobuhe 
bod atl aiaccalar: Vs Fpasteabaiter Soh a9 S$ _ouatrem, wetia Form fs H Qrbtt. Neppelod, 1Oruc kh G25 
menstriimptfe gen eouchstaachen inkoufenectzs 
Be Ps arlbag AM {9s Ilcmdhos fein pasiricht pe sortert. mat Splegat 266 75 E ia Farden scrilert 1.50 80. 
tril , inkanfsboutol indertasohon 
aworet cin 4 25 K hse idee a 65 4 ae Velloser, atrrarz u, brea BY reirends Forhon 110 690, 
tra . Unte : artplatton Koff, ktenmappen 
Bam si secre hl gan ait cacoones 25 Hi Meseingechibissr. 65 om 3 590 A Tondieder, u. Sehlere ots 


r ‘ bechomd Pork | Baerron Wollhat 

WU Rekcnchehs Gse ny DB apaageeenhnn? Gse pehing Stredeaa.tKragen se H echdeo Foardan uw Parmen 420 
ots: Re wa: borhema Zetec | Morren Haorhat 

4 Birokstsokubo f4iso 4 Be B st tale oy Gs0 i Fattendrust.tined. Kragan 750 4 mod, Farmen und Perben 850 
4 Sitiasschuho fo borhend weld erren Hoarbut 

A echvar goisheWaikiar GAS Herrenstictot Parr FO 0 Piece tbest: O25 | Hi ron Fermax cus foten O00" 


: Hi a. Drechirme 750 : ‘Fat! Garnituren 40 Kinder Settstelto ¥450 


oppich 
pa ete Sate 19,80 foo alr, Garritur £90 Holz, Ieckdect 16,73 


ee : ; 4 
Genre Rete GSO Bae Koken tsater . gio Bile Ribecsos Sorts. Boo Bia Milctalibettstatte Dg 50 
HS Eachine a. G80 GE) Keren eer. 250 By State Renton M80 HB Sistas tes, Boe 


Vet Linbest Pree 

Hotel 
commons wh, Sipe 5 pitas Se 

t cit Seescorsd | tate eu Sew,” eteige ute taermetiee 


EESEPS) cctotas. |i: f3, Bee Ballmattatenl| Sheringe 


went? Gow 
eermm tatenm Newsial FB OEYRTR ER) SStreante etree =f 


LeveritLble | Syetseriower 


ood agente Geert 
nese, ‘2 Sifanet 
(elitoe Usted, aetre 
goohigen Sabtawgte 
ietleqwenent qu tere 


wv ™ oy stm Nat} f+, td> aad Doar, 0° 
GerGretd. (uw 3! Forrest, oc tag} tbee, eyed a beng PA aeareees, wW 

e oy a ‘iste F Bet acd wad Wek, wart, years =. Sd. Pwsentey: 7m, 
Reid 4, Cos} Eo ACS lorem gid ere Oar | ext Odi yindaiag. 


- 


Mertiey btig” Pagers, me fetes. 
Pisaat on. 6 2 bebe ensue, 24. ft psatbeeaetidlal Ee wot hha bed ttm >| SON Secinerel 
pihimahialis vi TatiAbamalicsind UPR Senta. {peits- aivewers, _ vert * wm. Gehebict a. Galva ebte eet Ayae) Odsvelay 
a THis cme Redwre. be viepea eth tehiy rade. gem. Sete. tebe 6. qeteee. vheste te 
* Fieitegrr, Bosr-| vertestse LT. oa o Mererelehitsis ge petteaton, —————— Seeac, IR. Lp det Veetgerteply. 
Ssrregueigers tuads rr 2 sersee. 204 Peeete FL Noobs, Oderbrate ), esate sageer Sree rreenctoaate OS? | canenteremanetonestnnes 
tan, ot #9 $4 7 nf iyi th Pee, 08D Fahresder Kewet ewkn Lactincter 
aire UA. thet . wr —_— . Ze Seiten, Eee, om Raléerechreak 
TeSipsberre aad f ‘ > q fs : r 50.4 4 arc! 4, OTs . ; 

Meveret Tivtaewrwety if bt fh {bars a 5 . Vertes, at tt Keasedt, et, ome 3 Mark 
ease ian BAGEL, voces ealhatt 2 .faufter, Herrenkonteition Galselenpee 
Pilea” Uriegraloul sayran 6, fctausr Ferecias 3 tntee com, Deer bertine Reeepiete 6 Ebbeftecke hee, 3 
Logis ape H } te cere, ihn lease ik Srote Vrolsorm&Digung van t0-304, Nh ect Sloss eer 
Brisemaseites Riav MAA verve: esis Aa pak RE eect etek ee A. TE ok fb Moetonion wee AS dee SOA os epeatert. ocaeeesese5e 


WILLI BAUMEISTER: Store advertisement (1926) 


avoiding strong black-and-white contrasts are better-looking. We Euro- 
peans however have good reason to defend our European culture against 
the invasion of American “cliché-culture,” and must, if we wish to keep our 
end up, devise a good design style of our own. In general, it is not the 
heavy black-and-white contrasts in and among the advertisements them- 
selves that create a bad impression, it is the low quality of advertising 
design in general, and above all how it is arranged on pages. 

That advertisements differing greatly in size and form can be arranged 
together in a really pleasing way is shown here by two pages from a 
Japanese newspaper. Its design shows paradoxically that Japanese culture 
is closer to the European than is the North American pseudo-culture. In 


201 


any case, some of the Japanese advertisements are remarkable for their 
typographic design. The many-thousand-year-old collective mental attitude 
of the East reveals itself in the astonishing similarity of this typography to 
our own. The Japanese, for long masters in the use of space, have also in 
this area much to teach us. In a book Japanische Reklame in der 
Tageszeitung (Japanese advertising in daily papers) Dr Anna Berliner has 
written extremely well about this. 


THE PERIODICAL 

Whoever reads and has to work with many periodicals knows well their 
main failing: the lack of any unity in their formats. Since until recently no 
standard existed for them, they could be produced in any size. Everyone 
knows how inconvenient this is for their storing and arrangement. 

The German Standards Committee has now provided standards for periodi- 
cals and published the relevant details in Standard 826 (reproduced on 
p. 204 overleaf). 

The format is A4: it fits in with the format of business letters, advertising 
matter, illustrations, etc. From this come advantages for distribution, stor- 
ing, and cataloguing. 

In addition, type areas and block sizes are standardized. This makes it pos- 
sible to move entire articles from one periodical to another. And special 
inserts have a unified appearance and can be collected together and put in 
order. Blocks in standard sizes can be moved to different positions without 
trouble. The exchange of illustrations is simplified. 

There are advantages, in the standardization of column widths and type 
areas, for all the firms who advertise in several periodicals. 

While in the past different block sizes were required for every periodical, 
now only one is needed, which will fit all standard periodical pages. This 
represents an often considerable economy in costs. The often-desired indi- 
viduality of appearance in a particular periodical, seen from a higher point 
of view, is now undesirable. Standardization in periodicals is an important 
and necessary step on the way to a higher economy in intellectual work. 
A large number of all technical periodicals have already gone over to stan- 
dardization. All industrial booklets and technical literature should finally 
decide to follow. 

The objection to be expected here, that the format will be too small, is not 
based on fact. The Deutsche Drucker and the Typographische Jahrbucher 
are both in approximate DIN sizes; similarly, the American Printers Ink and 
Western Advertising, and the English Commercial Art (London), are very 
nearly the same. All five have frequent supplements and large illustrations, 


202 


oe ee ter re en ee ny ene nema ee 


He ML 


' 


ones ae ee 


wm hece wad 
wie 


sae 


ia 
WRSEN] 
it gel ee 1 eens || 


enn ae NEES at "ROG s ACS NERC e towmte Wo, 


‘ 


ies 


on eet 


Aves fe iste 
ares a 


REDE 


bar 


4S 


rae 


é sor NS j in A tas S eestves 
gj SE SEBS 
4 - —— + — 


ww 
ts" 


Ls RIE I PTE A re OTL © 
0 SEEMS ee ceewese: vr 
= one 3 
TEURRM jcyere rede 
© wtawerl eng 
eran 


Two pages from the Japanese newspaper The Tokio Asahi. 1926. 


Sot oir 


uit MEET eBersien 
“we ok RS? ax 2 
Poe Ma SS Re 
Pasi taukeeS2ck 
ott ivawtes Koa 
PUK Cm TeXBAe 
Ole Ore uth eba 


er tel 


ner 


ettuvgae’ 
SIIBREEwIe;? 
Pee SU et Tes Or} 


eit tae 


3 ete | 
SRT Tee reeust Vere 
st Water d er oe Bra 


Ht) 


reese taY~xoteveo 
a8 CORA RRONG Write 
ae Ben cee gees 
+ weer eee hie reraee” 
‘e ene 
we<ucintune ary secs 
Pee fee ere tr 
RHR OBEM KS OAD 
aoe. Oa bt be id 
ea Cot ed Pee 
SAresrscarcee ele 
SamaR-n<RRA~ adr 
Boweteevc’ ~SORale 
Pe SS Eds LO UNS HED 
gave purearh yet 
wlan eGemtY SOvs 
eR IS TNAGLCU HIS 
Cx BLsNe uve swdcree 
SSRet Seumoods Ris 
Sutaef ORM ISML-Wsue 
 K22gR oases ets JAR SESE KAS een 
- Becntsieoaeoes 5 - 
eer eur tsa 
Pres be te tae 


“ase iee 
2 AE Orman 


WS MEXT IAM Ghar ade es! 


2. 


TORE 


iti 


Te AL BASS 


AREA AY TAR 


ff 


203 


Entwurf —— 
Zeitschriften at DIN 


Format A4 Satzspiegel Druckstockbreite 8 2 6 


Das Format fiir technische Zeitschriften ist A4 (210297) 


mm 


>| 


167 --171 


<—$$$$______ 
| Spiegelbreite 


~<— Druchstcckbreite 8! — > 


297 


Druckstockbreite 167 


|<—___—________210 —> 
Format der beschnittenen Zeitschrift 210x297 
Satzspiegel Breite 167-:-171 
Héhe 250 
Spaltenzwischenraum 5 
Druckstécke Breite zweispaltig 167 
»  einspaltig 81 


Die Millimeterangaben gelien als RichtmaBe, die durch typographische Einheilen mdglichst 
einzuhalten sind. 


26, Juni 1924 Deutscher Verband technisch-wissenschaftlicher Vereine 


Jeded Ajiep e ul quawasijuaape Yyzpim-abed 7YaLSIZINNVG ITM 


OS'S) ‘2091 a0x2q cus 1 NOUNgUIeGaeuNCL 


= Gz cag oss py lee reais: s0Apow SOIdag-HOnSEHS 4s 
os‘9 N6 ‘Woxepuyjuey MPO aqAdsgeaayey 

_ URL 2 (ope $09 ‘°° * HeHOxp ‘cOsseAIUN 1M NEeSSe sage y 

‘SHHIS aTBAO 279) ogy °° °° * oxen im ‘yod wouuey-aaggey 

oar] tag $09 PUVIPNgG RRA Y391;9}3SqQ "po qiassag 

“PICD Hm BoIsay $96 ‘" "°° PUGH DDEM 1 aquCHOUg 
QSIA 13S SZ *#96°°°" "°° Jo4IPUIUNIG NH FKaypazuoyouyg 


=3sSisdsS QL PII foensrizg cst agdoqgoirpy 
a Gy Fes ee wae Sv B0}s3,J uowajsneg 
$09 *ee@oeoeeeeeese ud ¢Z ‘SS}o4 ‘PR PU saeyeg 
*S8 sceeee ss * a 2% Sstam ‘cosy BHey saEqeg 
OL soe eee ee © + md Eg ‘scram ‘nosey YeAO ay 
$BE °° 7 6 Sopa ‘Tosey He UaOySNOMSARAS 
$GR °° °° °°) 92 ‘ssp ‘coy Pey Meyazestadgs 


COP °° °° °° 12 Sspa toss PO waqjoquaddag 


NW1W13Zu0d 
“SLULITUNO 


jjojefiuy sabysugé suapuasag 


and give the impression that a smaller format brings no disadvantage for 


the clarity and design of supplements or illustrations. Very often a firm has 


to place a supplement in, for example, every single relevant periodical. This 
used to mean adapting to the sizes of the smallest and largest periodicals, 


205 


ofte 
n widely different, from which followed 
un . . . C _ 
productive additional costs in paper. This j OMPromises 
‘ n now un 
neces 


here are 
] re also great advantages in standardized fo m 
| rmats f 
Or 


Sary, 


=— a 
TM AGazines, 


Bremswirkung 


che! 


fe Flihrung de: 


VORTEILE: 


1. Kein lornwahrendes Nachstetle 


2. Weichr Steu 
Kurven! 


n der Bremese! 


erung beim Hatten und Bremsen in den kurzesten 


3. Keine gelahrbringende Becinilussung 
in der Kurve auch bei star 


Bremstatigkent unter 90°! 


der Steverung drs Wageas 


xster Beanspruchung inlolge slareer 


“4, Durch Servo-Wirkung geringer K 


raltaulwand des Fahrers bes 
star 


Kater Bremswitkuny ohne die Rader eu plovkieren! 


adder, also gro! 
(Besonder wichtig fae Lastwagen und Omntbusse.) 


5, Volles Einlenken der R Ge Weniligkeit des Wagens’ = 


6, Bremswitkung bei Vorwarts: und Rackwartsgang Reich gure 
2. Kralvige Bavarl, Verwendung erstklassiger Baustolle, sauberate 
Verarheuung’ 


Wir lielern einbaulertige Vorderachsen in genormien Stanilardtypen® 


, om: Res | ee 
- 1 33 Fur Personenwagen mu Bremstrommeldurchmesser Yon: tay mny 
xs : 4H) enn 
: . nt hb: hy Aw nim 
vinta ies ie by : an mm 
sy , pati Saaee ‘ For Lastwagen und Omnibusse 
: : a fu mit Bremsirommeldurchmesser von" 48) mm 
Wik GaN CGS 00 mm 
| | ochumer Verein 
(ur Bergbau und GuBstahifabrikation | Bochum 
Alleinverkaut durch Vereinigte Edelstahiwerke Dortmund 
K tei , i %) ¢ oe WO 
A beh 
wis sant. Honetrabtion®: uno 
far reac geioet und exadauternive Kurereete® 
aitiec. "* 


——— 


hol - 
y e 


red, with photomonta ‘ Page adv 


Original 30 pe nt, black and 


Of the art and similar magazines that appear in 
standard formats, | know of bauhaus (Dessau), 
/10 (Amsterdam), Das Werk (Zurich), and Die 
Form (Berlin). All four magazines (and there 
are certainly more) show that despite stan- 
dardization typographic design can be fault- 
less. 

All new magazines and periodicals should cer- 
tainly adopt standard sizes for type area and 
format. It is not least the duty of the print firms 
to acquaint themselves with the standard sizes: 
most publishers and authors know nothing 
about them. 

It is much to be regretted that articles which 
are often of great importance have eventually 
no effect, because the finding of a particular 
article a year or so later is virtually impossible. 
The only remedy for this is to flag every issue, 
as for example the Ze/tschrift fur Organisation 
(Berlin, Spaeth & Linde) has done. Their indi- 
vidual articles, flagged with cards in DIN A6 
size, provide a systematic index of subjects and 
authors, which makes it possible to find, years 
later, an article on a particular subject or by a 
particular author, without much difficulty. Here 
therefore is an important task for periodical 
publishers, for example the Borsenverein der 
Deutschen Buchhandler. With appropriate stan- 
dardization a crying need would be met. 


DEXEL JENA 


2. SEIDENWEBEREI 
SEIDENE, HALBSEIDENE UND KUNSTSEIDENE 
STOFFE FUR STRASSEN= U. GESELLSCHAFTS= 
KLEIDER e SCHWERE KOSTUMSTOFFE 


GERA-ZWOTZEN 


TELEGRAMMADRESSE: BESSLER GERAREUSS / FERNSPRECHER: 323 UND 400 


SCHULENBURG & BESSLER 


MODERNE DAMENKOSTUMSTOFFE IN 


REINEM KAMMGARN - MODERNE REGEN= 
MANTEL= UND STAUBMANTELSTOFFE 


HERREN-— U. KNABENKONFEKTIONSSTOFFE 


1. WOLLENWEBEREI 


WALTER DEXEL: Advertisement (1925) 


On the typographical design of periodicals 

The prime requirement for the appearance of periodicals is a good type- 
face. Among those suitable are the good ordinary romans of the present 
day, for example Nordische Antiqua, Franzdésische Antiqua, Sorbonne, but 
also the purely classical faces, for example Garamond, Baskerville, Didot, 
Bodoni, as well as good cuttings of ordinary Medieval and Antiqua. 
Fraktur, now for long out of date, must be avoided, and also without excep- 
tion the “artistic” types. 

For display faces, for titles, page numbers, etc., bold or semi-bold sanserif 
is recommended, with its clear and plain appearance contrasting strongly 
with the text. 

Article headings should no longer be centred, but set full out to the left. 
This also of course applies to figures like “1” and subtitles within an article. 
Asymmetry must never be disturbed by centred titles or forms.® 

Page numbers should always (as is normal practice today) be placed on the 
outside of the page. The use of sanserif for emphasis is good. The very ugly, 
use of rules separating columns must be avoided. An em gutter or more is 
all that is needed to separate columns clearly. 

Just aS unattractive are the stars, always in mysterious groups of three, at 
the ends of articles. Apart from usually being ugly, they are quite unneces- 
sary. Just a small space between two articles is enough to separate them: 
every kind of decoration, especially one so questionable, is superfluous. If 
in special cases for any reason a strong separation is needed between 
short pieces of text, a single round six-point spot may be used. 

Centred running heads above columns must be avoided: they will not go 
with asymmetric article titles. The best way is to place them on the outside 
— without any rules beneath! — set in sanserif. If a rule is used, do not use 
thick/thin or double rules. Simple fine rules, up to six-point, are the best. 
Any intelligent person can only wonder at the impossible effects on block- 
making which result from the folly of centred typography. In the two exam- 
ples shown here | have tried to show the difference between the old strait- 
jacket and a sensible arrangement of blocks. | have intentionally shown 
blocks of different and “accidental” widths, since that is what usually has to 
be contended with (although in the future, with standard block-sizes, it will 


® Absolutely to be avoided are the drawn titles for articles. to be seen so often today. They are 
expensive and neither good-looking nor appropriate. A periodical that is type-set requires type- 
set headings. Although there is no standard for all headings. an infinite variety of typographic 
headings can be thought of. 


208 


1922 


NEW YORK 


. 
1 


' 
| 
l 


i 
\ 
Hl 
t 
' 


GobT 
HMYOA MAN 


. 


EL LISSITZKY 1922: 
Cover of an American magazine (reduced) 


209 


vl 


How blocks used to be arranged in magazines. 
Schematic, thoughtless centring of blocks. “Decorative,” impractical. uneconomic (= ugly). 


happen less often). Standard-size blocks will make the problem much sim- 
pler. The left-hand example shows clearly to what complicated lengths the 
old designer had to go. The centred illustrations are cramped and require 
costly and ugly narrowing of the measure. The redesign on the right speaks 
for itself: it is obvious how much simpler and so more beautiful the new 
form is. The mostly dark blocks contrast well with the grey type, and the 
blocks which do not fill the measure leave pleasant white spaces, whereas 
formerly the type round the blocks, often of only dictionary-column width, 
gave an impression of meanness. 

Where possible, blocks should be placed close to their relevant text. 

Like article headings, captions beneath illustrations (as in this book) must 
no longer be centred but must range left. To set them in bold or semi-bold 
sanserif will strengthen the general appearance of the page. That they can 
also often be set at the side of a block is in accordance with our modern 
practice. 

As regards the blocks themselves, they must not be surrounded with 
unsightly rules. Blocks trimmed flush look better. The remarkable “clouds” 
(uneven dot patterns in halftone blocks) on which not only small items but 


210 


The same blocks, correctly arranged in the same type-area. 
Constructive, meaningful, and economical (= beautiful). 


even heavy machines try to float, are to be avoided both on aesthetic and 
practical printing grounds. 

Magazine covers today are mostly drawn. That just as effective results can 
be obtained by purely typographic means is shown by the examples of 
Broom and Proletarier. 

Broom is typical of the only kind of symmetrical design possible in the New 
Typography. We leave behind the two-sided symmetry of old title-pages as 
an expression of the past individualistic epoch. Only complete quadrilateral 
symmetry can express our aims for totality and universality. 

The cover of the magazine Pro/etarier is an interesting example of the 
dynamic effect that comes from oblique typesetting. Both examples have 
achieved their strong effects without any use of trimmings such as rules or 
points. 

The enormous importance of magazines today requires us to give them the 
most careful attention. Since today more magazines are read than books, 
and much important matter appears only in magazines, there are many new 
problems, of which the most important is how to find a contemporary style 
for their production. This chapter attempts to show the way. 


aii 


THE NEWSPAPER 

Although newspaper typography is, in general, characteristic of our time, 
and, at least in principle, shows how good typographic organization can be, 
there are also many examples where newspaper setting could be raised to 
a level really expressive of our times. 

Apart from our now much heavier headlines, modern newspapers are not 
very different from those of, say, 1850. The first newspapers were like the 
flysheets and pamphlets of the 17th century, which themselves were set 
like book titles and pages. Newspapers remained even until today in their 
Original dependence on book typography. But as the tempo of reading 
became faster, greater or lesser emphasis in parts of the text became nec- 
essary. This is done today by varied type sizes, letter-spacing, heavier 
weights of type, leading, and other uses of space. Many of these methods 
are much overused, but this is not our subject here. Such methods are 
based on sensible considerations with which we have no quarrel. They 
make it possible today for a newspaper, whose contents are about equal to. 
a medium-sized book, to be “read” in a few minutes, i.e. to find and absorb 
what the individual reader himself wants. This is without doubt the way of 
our time. 

But in the past, what all newspapers had in common was the typefaces they 
used. We find, when we look at old issues, the staple type of the political 
pages, the broadsheets, and advertisement pages was always fraktur. One 
has to look only once at the trade part of a paper (normally set in roman), 
for example the Berliner Tageblatt, and lay it beside the political pages of 
the same paper, and compare them, to see immediately how much pleasan- 
ter roman looks and reads. The supposed lesser legibility of roman in 
German, compared with fraktur, is a national old wives’ tale. All progressive 
papers should take the first step and set the whole paper in roman. How 
splendid, for example, the Dutch newspapers look! They use sanserif for 
headlines and otherwise normal roman. Indeed the trade part of nearly all 
German newspapers is set in roman; and in other parts, chiefly the more 
modern parts, the technical, sport, film, and literature pages, fraktur is 
being more and more pushed out by the Latin type — greatly to the pages’ 
advantage! It is to be hoped that soon all the remaining pages will be set 
in roman — sanserif will no doubt eventually follow as the normal reading 
face. For the time being we have no really suitable appropriate face. But for 
headings, sanserif is outstandingly suitable. Many sections of the 
Frankfurter Zeitung use it with excellent results. Headlines set in caps must 
be avoided, they are much too hard to read. For this purpose | find that 


212 


ANONYMOUS: Magazine cover 


213 


bold sans is more suitable than semi-bold: the latter is not different enough 
from the grey of the text. 

In the fraktur pages of newspapers, Bernhard or similar fraktur types are 
most commonly used for important lines. The only objection to this is the 
basic one. It is completely incomprehensible, however, when the Frank- 
furter Zeitung uses the antiquated and hardly more legible gothic for its 
title masthead. It really is difficult to decipher these hieroglyphs! It is 
astonishing to see this in a paper that has tried hard, often with success, 
to present a really good typographic appearance. 

| believe that it is not right for a newspaper set in type to have a drawn 
masthead. Our typography has enough variety to meet all exceptional 
requirements. That applies also to the newspaper's masthead. Its design, 
particularly in the case of old papers, should not be changed, even to 
roman, for it is the “trade mark” of the paper. Of course everything that is 
not the actual title can be set in roman or sanserif, but the main title or 
masthead, for example Berliner Tageblatt, should keep its original form 
unchanged. It does not follow that new newspapers must set their mast- 
heads in some kind of fraktur — sanserif alone is right. On a newspaper 
stand it would hit the countless other mastheads in fraktur like a bomb! 

It is time to give up the centred headings inherited from the 19th century 
(before that, there were hardly any), and introduce ranged left headings, 
which express the spirit of our time, as in this book. The white space fol- 
lowing most ranged left headings has a good effect, and by its so to speak 
automatic allusion to neighbouring headings gives a better organization of 
the text. Today centred headings make a disturbing grey: the black type is 
mixed up with the surrounding white, instead of strengthening the page by 
pure separation. 

Das Technische Blatt, a supplement of the Frankfurter Zeitung, has ranged 
left headings and has become a very handsome newspaper. 

Vertical rules between columns should be abandoned: they are as unnec- 
essary as they are ugly. A newspaper page looks really lighter without 
them. In place of the still much-used thick/thin rules beneath the title and 
above news and advertisements, simple bold rules (about four- or six- 
point) should be used. Thick/thin rules are obtrusive and a superfluous 
unbeautiful ornament. 

Halftone blocks in newspapers look much better without the usually 
inevitable surrounding rule. Also pictures in gravure papers should be cut 
flush. All rules and especially borders should be discarded. 

The design of advertising pages is dealt with in the section on advertising. 
It would be a great advantage for newspaper formats and type areas to be 


214 


standardized: many mistakes arising out of today’s format chaos would be 
avoided. 

The two pages from the Japanese paper Osaka Asahi (pp. 203, 204) show 
how beautiful a newspaper can look. Our newspapers naturally look differ- 
ent, but do not achieve the aesthetic effect of the Japanese paper. In any 
case, the beauty of the paper of the future will meet the needs of our time 
by striving towards better clarity and a far-sighted, consciously planned 
design. 


THE ILLUSTRATED PAPER 

In recent years the number of illustrated papers has increased enormously. 
This impresses on us the need of modern man for pictures, because lack of 
time makes reading the daily papers more troublesome. Besides satisfying 
genuine curiosity, illustrated papers often give real pleasure from their 
technically and visually excellent reporters’ photographs. If the literary 
level of most papers of this kind is low, it is probably due to the similarity 
of the literary sources on which nearly all these papers depend. It is cer- 
tainly true that the lack of difference between these sources is more and 
more evident. This problem however is not one for us to consider here. 

It must be said that the optical appearance of these papers, although a 
phenomenon of our time, does not fully express its spirit. Illustrated papers 
are still comparatively young; as far as one can judge from their external 
appearance, they are very little dependent on “traditional” concepts. Such 
a dependence can be seen only in their actual typography; the arrange- 
ment and composition of their pictures is by and large contemporary. 
Most of the article headings and all the picture captions are still in the old 
centred typography, while on the contrary the picture arrangement is com- 
pletely asymmetric. Symmetry in the pictures nevertheless does sometimes 
occur, and may even be originally always intended, but the dimensions and 
sizes of the pictures make this hardly possible. The intrinsic asymmetric 
form of the pictures is very much disturbed by centred captions. If a har- 
monious design is wanted, the captions too must be asymmetric. They 
should be set flush left, but there are plenty of other possibilities. 

For display faces (headings and captions), sanserif (bold or semi-bold) is 
the most suitable type. Its clarity and precision make it the contemporary 
type to be used above all in these documents of everyday use and activity. 
A clever and imaginative typographer can find delightful solutions for every 
kind of title by purely typographic means. The use of drawn headings must 


215 


be avoided, as out of date and untypographical. Headings do not have to 
express the nature of the contents, but say what they have to say as clearly 
and simply as possible, nothing more. 

Unfortunately fraktur is still the almost universal text type in use. The 
Illustrierte Blatt (Frankfurt) has set a good example and gone over to 
roman. This has made a great improvement in the paper's appearance. For 
the need to use sanserif for display purposes, one can cite the further rea- 
son that it is the only face that truly matches photography, and has the 
same essential objectivity. The hooks and tendrils of fraktur, the type of 
16th-century officials, do not belong to our time and cannot ever be suit- 
able in such uncompromising expressions of the present as illustrated mag- 
azines and newspapers. Because at present a really good sanserif for 
everyday use does not yet exist, the next most simple face, roman, has to 
be used. The factual-impersonal roman faces, Garamond, Bodoni, Fran- 
zosische Antiqua, Nordische Antiqua, Sorbonne, and others, are better 
than all the art and jobbing faces; their outer form (unlike the latter faces) 
does not dominate their content. 

Photographic blocks are improved when used without ugly border rules. 
The borders, often centimetres thick, to be seen in many newspapers, must 
absolutely be avoided. They are neither attractive to our eyes nor helpful to 
the effect of the pictures, but unsympathetic. 

There are no laws for the placing of pictures on the page. Strong contrasts 
in size and form (large-small, tight-loose, dark-light, vertical-horizontal, 
deep-shallow, etc.) are easy to achieve and attractive. Photomontage can 
be used effectively in many ways. In view of all these rich possibilities, it is 
astonishing how poor is the design of most of our illustrated papers. The 
appearance of even the most important of them is really provincial. 
Sportspiegel and Der Wel/tspiege/ have made good efforts to improve their 
arrangement of pictures. 

As well as the above-mentioned items, the totally unnecessary framing of 
picture pages must take part of the blame. These frames should be dis- 
carded, making the pictures larger and more effective. 

A further advantage for our time is the unified format, which was previously 
lacking. The DIN format A3 (297 x 420 mm) should be considered here, as 
most suitable for this purpose. 

Finally we must mention the printing techniques of illustrated papers. We 
can certainly expect an ever-increasing use of rotary gravure. It is undoubt- 
edly the most suitable process for illustrated papers. Offset-litho, because 
of the lack of depth in its printed images, cannot compare with it; in this 
connection it is in the same class as ordinary rotary letterpress, which also 


can no longer compete with gravure. The rich depth and general effect of 
gravure are enticing to customers. Doubtless more and more illustrated 
papers will go over to it, unless, as is possible, a new, perhaps more beau- 
tiful and equally rational process is discovered. 


TABULAR MATTER 

In tabular matter, the usual thick/thin and fine double rules, and indeed all 
kinds of rule combinations, must at last be got rid of. With simple rules, 
from fine to twelve-point size, even the narrowest column-spacings can be 
made clear and better than with the old rule-combinations. 
Table-headings, as long as they are outside the table itself, must not be 
centred but positioned left or right. Smaller headings inside tabular matter, 
on the other hand, should usually as an exception be centred, because oth- 
erwise they tend to look untidy. 

To achieve the greatest clarity it is again sanserif that must be used in tab- 
ular matter for emphasis. 

Old-style (non-ranging) figures must never be used. They are an unpracti- 
cal and out-of-date historical form. En-body figures without ascenders or 
descenders are the only right ones for tabular matter — and elsewhere. 

As guidelines for handwritten entries fine rules are more practical and bet- 
ter-looking than dotted rules. Since these entries are today usually type- 
written, guidelines are often unnecessary and disturbing. 

Tabular matter need no longer be a rather unpleasant job to design, if one 
can be free of rigid rules: on the contrary, it can become a really charming 
and artistic exercise, in no way less interesting than any other area of job- 
bing setting. 


THE NEW BOOK 

In the area of book design, in the last few years a revolution has taken 
place, until recently recognized by only a few, but which now begins to 
influence a much wider range of action. 

It means placing much greater emphasis on the appearance of the book 
and a wholly contemporary use of typographic and photographic means. 
Before the invention of printing, literature of that time was spread around 
by the mouth of the author himself or by professional bards. The books 
of the Middle Ages — like the “Mannessische Liederhandschrift” — had 


217 


merely the function of being a copy of the spoken word. Printing however 
had the immediate result of transferring the spread of literature from being 
spoken to being read.°® 

The man of the 15th century stood erect in front of the desk and read 
aloud. That was the reason for the large letters characteristic of most 
gothic books. It was not until later that the tempo of reading accelerated 
and made smaller type possible and necessary. 

Reading aloud slowly, “feeling” each separate letter and word, has now 
given way to skimming the text. Modern reading technique owes its nature 
to the way newspapers are set, their large and small lines, their different 
weights of types, the spacing of single words and whole passages, the 
making passages prominent by wide spacing and leading, and so on. The 
optical appearance of newspapers is evidence of today’s speed of life. 

In literature itself, similar changes have taken place. The writer of today no 
longer describes at epic length, like the poet of the 19th century, the feel- 
ings of his heroes and the landscapes of his story. The speed and urgency 
of films has also influenced literature in the direction of second-by-second 
action. The novel has been replaced by the short story. In their search for 
new ways of expression some writers of today have turned to typography. 
They have tried to transfer the ways of expressing modern prose from 
acoustic to visual effects. 

The Franco-Pole Guillaume Apollinaire wrote his “Calligrammes” in “con- 
crete” form. His verse described the outlines of spectacles, clocks, birds, 
flowers, horses, men, etc. Its publication was dependent on photomechan- 
ically reproduced handwriting. 

The Italian futurist F. T. Marinetti took a further step in the total typo- 
graphic design of poetry in his book Les mots en liberté futuristes (1919). 
By using different weights of type and different types, by placing them in 
special positions, by repetition of consonants and vowels and a novel use 
of typographic signs, he tried to give a phonetic effect to the spoken word 
by the incisive optical effect of typographic forms. The printed word as the 
means of expression was enriched by the specifically optical effect of his 
typographic design. All earlier books count on reading aloud or leisurely 
reading well distanced from the world. The book of today’s active man, 


© The speaker did not disappear suddenly. Only in the last few years has the public's interest in 
him diminished. 

For such works of literature, depending on acoustic effect — in which the spoken word is essen- 
tial — the gramophone record is still a relatively perfect possibility: Kurt Schwitters and Joachim 
Ringelnatz have consequently spoken some of their “acoustic” creations on records. 


218 


EL LISSITZKY (1922-1923): 
The Mayakovsky book shown open (photo by Lissitzky) 


whose eye is his most valued instrument of reception, has been designed 
for the first time by Marinetti. 

Besides the pure “letter-book,” a new book-form has arrived, the “picture- 
book,” i.e. a combination of both forms. Modern man has found in illus- 
trated newspapers and magazines a new source of delight. The impersonal 
clarity and precision of photographic reporting often communicates far bet- 
ter and faster than an article dealing with the same subject. In many papers 
photographs are already more important: text has taken a step back. The 


219 


LPse & DM iitmnom . , 100 254g BY SiN, S44, 6 Why 34° 35 


iy Vy — — intezaare B> id Tran CHO 39 ~7 29 Pye oP ee aes 2 "F.< 4 Sre-itay Pood ag Vee Os > UR 
~ de & & Mingis pf. © 300 454, 4bt, 48 4B +t 4, a3. 48 34g $V = er x i alas gs 4700 18 ie ty + % 1 etl ogc? 4 Sin! Poudeiees es : a 
ces Chee Gt Weal V10 ee ou Vv Le loter Aa “4 $ o E: Hee HOD 8 8 
. | -UBMe CO Western pie eae bre MMe ta SP me 108e 18D egae? tig” ge Inter Buntnege dinch 1300 16485 Heads 14304 184 44 198 MEats ABM £1 Atcemerg Carbsrrtar 9 BA OR 
= {ie MMT Real, aaoe ky ae Shy Ye 28 BAe att, 62° & tater Comenl...,... 1000 38 76%, 16% Oa ty aig Th Sh 4th € Niwtetaber Ca 1 42 3% & 
we. Ghee MA Be teeta” BOO S|. B80 ip Therm. te | he OM jor! 100°: 7, Intet Cement yficss (200 106. 408 hip Mp A AMS Sok” VE OR seskahar Aa Gk ae en Meo? Aes 
“Rie Mil aw Br pt. G200 Sy, sey 18f)  158hs 19H 18 1 Inter Combus E S40) 4644 461) 45% “Tar Va ABYe AG ow] 32 §| <=; ifdbeibtine: Hast e- a e e 
Chte MUGS TM plete 400 14 t4ap ota” tabe b St 33% 2 Tate hey ‘i ' ‘ 1 Ng 3 
& Che & Northwent 1900 ray, raid ‘ 2% «Sy SUMS 9844 6 later Harvester Sito ie an \ er M4 ee ee. ae ee 
S, Chis Dace Taal Ase tanec mee De ah 79, | 12024 113357 tater Harvester {09 é ip tver_Atoet « ‘ad MN fBMe 
Peas eed de zs 4 ¢ diadl ° Ya} 46% MW ater Mere Mar A at — =~ wool Co of Maer 245 4 — 16 23 
a oe Spey Pe bgt 4209 48% 484 435) aan— y 47-47% | 238 27° = tntes More Mart \$00> 1s 14 338 a Kymsngtsn fm “9t tity why °° 
SESH BOE Beet) ADD: AD.” OF. (SO C8 t gms t fey, 97 Atv, 24 2 Inter Nicbel ,.. 450) 1735 Ta 3? BvD 9tM ge tt 
6 Un Kock | & Pac of 106 €L', B8ly B55, 86% se AE Ohh bs 101, 04 6 Inter Nickel pf. - UY) IF, oy IND), 1a oer 
RCRA Cee es Oe ae en NB gs aad ma Annet Papel 2c 2) ate ax OD Ly Sommy 
ig na Childs Kampany ..-. WOF 214 7 TYy 91 reer FOSS 71961 gone Ge 7: Inter Peper pf oe ae : se” ae. 
Thy Chile Copper ....... 6007 SHIR ADAG 384 384. — Sie" 80% 1 yee "44 © Inter Telrp & Teh 1766 VBS 11D > See : en nig { 2B, eer te. e, 
“~  Cbrpsder Corp ....., 6802 194%, 108%, 133% lbtige ” 1b4 Wesel 29%, 19° "145 Intertype Corp .. 10D 27.4 RK UL ‘> ‘ Q : t s bt? $ 
f ve th PD Knds-« 2 * : ea aa C8 2° 13 ~- fones row Tea. lety 1 ee ae 
7 CoerCole s+ 2000 16215 15]4q 1911S TE2E + 24 NST BI] BLS 1B% 2 Jorden Motors % OE aoe Ss te a8 
Cele Fart & Iren’... 606 sol; a1he 403 aohy + h 604 S05q 10052 a ? K City Pas 5s MQ Wt 4 1 . 
“243 Colvintia as & Fler ‘6400 BA OShy Othe C4¥a-- 1, 64%, 8h an, 20% — HKensae City Beet tit 417 5 ae t+ 
fo Cel Cow & Klve of ., 100 rttdg ANae FTN etek Bye rte ty a 02° 67 4 Kap City Boothe f > 
4 Celutidian Carter 9, 2100 0 fly 50 CK 54 Ee Ly TIM 104, 3 Mavesr & Co. : 
toy Lommercial Creda SISO 4929 479Q 492, SOQ y- if “Eig fU%a] 20%, 1204 — Kelly Gpeingf Ts ry 
$2, ‘Lemmereial Ce Plies YOO" AS) 5 Bhp 25ly BBige by 2614 2b%, ”% 4 own Ketly Boat T O° 
2 Cemmercial Ce U",, SCO ht yp 4bhy Tht 2ayy—- ) Abie 2774} 114 6 & Kelecy Wheet 2) ’ 
2.53 Com Saeest fras!... *O2 738, 7/ ey fret 144, 77 58 4%, 3 Kennetat! Coppe ‘ 
4 Com Golvents “A“.., G00 tte 196 126° 199g De Iv, tha me Kegyatone Tite & t 
~ Cém Polvents Eo... 1202 BL, 112 OBS, Brat Sty 1% 149 103 72 4 Kinney GAR A Co. “4 
Cong Navn Ce... .. 2230 24 244— 28t, 4 -— 24 2441 ROO | IMB & Kreask 4B Ce, A : 
- ee ar te ble ng eo = “eta o. AO75- 2 bet fy . 4Sta stite ‘- Risees a de Rusre 1 
-- " ’ it tore.. 5 “i < 1 10°/ ° : - 
e ene Cee ee wen 82” Big ae 0014 7. e2it 02 iA We, pe a os aT Z 
~~ ensct Tertile’...... GG 335° 4 rh ne wy 4 633%, 62 diy Lehtgs a ae ‘ 
4 Cunttnental Cane... HRO 254 Py Wy TEN Ply 79 76°66) °% § Ligget: Myar ‘ ‘ 
GCG  Contiorwtal = cocng “ROOM 23096 Vhs '3t % - 1 433 i 7745 er A Lara & are | ae aM 
Bd Contunental Bloterw.. ssids 33% td4q 13 Mn+ te ME 13% thy 6 4 Aime Lecamulte ey 
2 Corn Pied Mef..... -. 12300 324, S745 3? Weye M4 Y? Zl} WV, 22 2 Loew's Inc > 
SCD Cty. fin cece: coe £20 B7Ey BTN SPF, STI —— 7 BTM) Shy 6 het Ene * 
P Rgucibe GUE Mico S00 $E0S atx abl, Gives AL ethcite Tt SH Soh, a tenieae, oe 
Pe Jes thle ler erate ‘} ra *) ¥'3 ype ‘ i¢ $0. 3 ont & vse « 
2 Cubs Lene Beans +. FBER & i a ra & pace 8 . Si} $14 5 tone 2?  daoritiaed Ca pf 3? 
=~ Cubs Cone Suger af. 3602 301, 4 Ay 59 5g 28h, GOL,] add, 15K, - Loutetena Ott : 
4 Cuba Cempany ....., MW Bry tte BF_y Wtz— 4 BOLL 8094] 264y 235, 13% Lavleritie C a 3 
f  cwhan Am Suger .., S300 2t4y Ty AIM 2th ee AtBy 2H L127 10 6 Leuk A Nashi 
— Cuben Gem Hegar.. 3sc0,— Ha ay, Sha Mig tg 2% Si4] 6% 3th&e 2) Ladlem nies oe : 
ew Cutan Dom Sugat pl €19 26 20 Wey Wis 3 1B TAT AMEN, 79° FICO MeCrery Rioree 
? Sodehy Vackite 2... 45) 1035, 104 1O3%e_ 108 we «60K t53'-y) 218 i? ¢ Mack Terrneks 
= pelea Hone tne, 603 = Oty, ve ue: ¥? “eo . mays as Pees -- aie Teke tt of : 
4 usame!l Trust .. 2... wo > to: - ~e & ‘ a == eee 
=: Bertoo Chemical os. 3900 498 417% 4014 Arras ta 4 AML IP pigs) Ne oni 
9 Pele & Budvon 22, | €OD 146%, TARE 148° 146 TAC 1 ona : ceric " 
ela Lee A MQ... "FCO Math, 11d, fate Tathye Sy O99 4075 bs Pe te Mauka! Ben hte lied Casta ‘ 
= Den & tive Ge wf... 300 atte 4i%y athe Atte be Oty Atha] OY Sek YF Meekel biee ou: OS ph RE ae Se 
Metres Eduyan Co... 2420 149%, VEO 4B TAT MQ Mg TAT VAR 2° 20° y Manhat Bhire see. “i Bis FAB ach iene sea aE ; 
to Met Evhan tie cask. brse4 = 2 ane Pr Py (; ata ay? 38'; 20% —~— Maracaibo i cag +, Gane ee” . 
> noose ieee ieee Sm one — 38 rt Mocs ppint 1? ays eee ; 
ovge res occes ? “’ ‘ a ove Hi Re @& ? 
2 Some Mines Ltd... 4608 5 say ke Mig x te 5 a Hid SS! 4 - Mashet 6 rey a et “ 
¢ Ereugivs, Fectts Core 30> 70% 25 274, one oe | 3B 1% = tearbet it Hy saa) = 
—- fsleh SUA A. Ve 3 4 3 oi, i? a2 3 Be’ 32% ooh Mittend O11 © kee os 
-- pal AR & Att pl... ie o% Bi) os aoe re, ane sas 30 1Otg 1 Marlin Heckweile. = 
°9) Dt ant de Nemoury 2760 toy a62%, 20+ 22, 3 ', i ‘ p aS ty 
t is Pde N debaciee € 490 101 101 t0s 401 oot 10th 162 bed He : 2 Thtiveae “etlalt ee 
To Degewne Liedt spl. QO Vy PEE Bde VIEy— tye VHLD 992 12934 101 b May Dept titer ; Es 
Md] Foririan lhodak F 700 rey et yee 2 pe a (a 194 an 26%: bai — Mastes Corepens ove 
2 Later Atle & Boe. 700 28 § 3 Svar ve 4 8Yrat 224, 104) —- 9 Mesican Brahoar oe 
— ‘Seton Agle & 3 119,. 90 are ta yer fa ot = 24 8 1 Miaest Copper oo &. as 
we ble Mower & 00... 8400 32% 3d B2M_ 3214 (2 38s 3245 zeit 25% — Md Cant Petrotrag . ns 
To Fire PCA L pf... GD Othe O82 y OF VI 4 be Vie 92% Ve ORS 7 BMid-Cont Pots oh ty - ti 
? Fiec Vo O& 1. 404, pd. a9 3? 107 107 10?) -— ? 164 rly 34 a Middle Btutes OW .’, tS 
4  Elee Blerore Wet... 2602 G9Ly 2Oy Hie 7eVet oe ws “Pod 910 Ud idiend Stew! Pr t 2 
— bth Herm Crab ae 3CG 34 ¢ i)  *« i 4 2%) = Ming & Hit Lo new. “3: 
4 Lredicatt-J stinean te x as 44 ~ le oe ae 6a% 200g -— Minn 61 P re a tooo tse ~ 
am Ebtey aya, vecce wave THO S$4bp 3455 6 ss stg sey 73 “ - M aPH sake eos 
fm Fre M08 BT waurcasaes LP oe) 42 Di sec Oe h a oY as 40, ae - Melhane R +L cB a : 
= frle f4 pe ce D2 ve aes] 91%, 7404 6 Mo Rene te Masten blert Inst ACO) e52%, +2? i° 
, 4 Fureke Vac Cleaner. 2240 683 6a bhly oA a 53 Cr%l a: 2Chy — = Miacourl PQ » { cost he = es ig a :. ? = we a 4 ne ‘ : 
poe Farcthooks Ca wie ASG FH Okey tha clue “Gg 2h 24 2, 71 — Muscurt FoR ‘ ay 920 =O Whesting A LE ot in (Q3ts, Aon, 23 
5 240 Pawbane Morse . WOO 82h by 42 ht — Me ft et gore a4 4 Montene bo Qe. ris 38 2 White “Reel Cit Sat Lasenn enh Base ries 
» 8 Varrtonks Morse of 809 TGR 2 NCSL, 8OF 4g 20) gaa toHty 10 mh 4} on Monte arver yr. Vga Se bd t? : a "“ Alte Meiers "prota ony Hn : 
¥ Faurmwas Vlevers 4409 310 Git, 120 SOBs He TIME ICY, se4y 22%. 3 Moon Metote .- % waar .“ 2 Wats Hoare ane ea ae ~. OB 
MeO Ped Le kb Trae FD 89% ANN We Wine MH 2982 Ube fs 6 et Meothrr fade Crstiin ee a ait att gota Fez The ne "Bie oa Widaane? Siast Ri ees a oh 
m "$6 28% Ws 29%; WBips Mp 27h ; nat ‘ N soe af “ ce NE ” j 5 Sb a rhe ars ale 
bP vee ais i & 4s ies Se , et ae £ es ? at a : rh + ° if | oa “ ae . 2 deter Whee! Gere aed ote wa 32 fe 10h9 ae (lear ieee Oves ann . 3% 24 Gi EB oe 


JOHN HEARTFIELD: Double spread of a book jacket. 1925. 


id du0W 


S9injJoid OL) 1X98} UB SauNnjO 


(ainjoid | = 1x8] Jo saul! QOL) 1x92 UeY UONeNsN]|! SSo| 


-SIY MOU UMOUY-}J]9M eB U] “(SEUl] OL 


ase asayy Aepo} 


Ppasianas Ajajajdwoo uaaq mou sey diysuonelas saWs04 


SPM 3J9U) ‘Jalse9 


FEUERSTEIN-KREJCAR- 
SIMA-TEIGE: 

Cover of an almanac 
(1922) 


aq & i: rn R N i K XY © v i | kK Rm ¢ hh 2a 
— eer Re SER 


tory of art, the pictures are the major part of the book: in large picture- 
books about Germany and many other countries, illustrated with pho- 
tographs (Orbis Terrarum), the only text is a short foreword. 

After the Futurists, the Dadaists explored the possibilities of typographic 
technique in their magazines. Kurt Schwitters in his magazine Merz used 
typographic and varied photographic components which were unified by 
his typographic design. In Dadaistic designs the previous apparent incom- 
patibility of reproductions in book design has disappeared and blocks, 
whether from photographs or drawings, have become an integrated part of 
the book.® The special (for example apparently plastic) form of a halftone 


® The artists of the pre-war period denied the possibility of artistic unity in books using halftone 
blocks. This is in contradiction to the needs of our own time; and now also handmade paper and 
hand-coloured woodcuts belong to the past. 


221 


block is no hindrance to its use. On individual pages, and in the book as a 
whole, harmony in design comes from the use of larger and smaller “plas- 
tic” and flat elements, varied lines of movement (vertical, horizontal, slant- 
ing), and not least the positive value of unprinted space, which formerly 
meant nothing and now is as much a proper element as printed matter. 
These ideas coincide with the principles of “absolute” painting, whose ini- 
tiators are contemporary with the originators of the New Typography. 

The Russian El Lissitzky, one of the most important present-day artists in 
Russia, has also done varied and significant work in the field of typogra- 
phy: in 1922 in Berlin in the Russian/German/French magazine Gegenstand, 


a 


NA VLNACH 


T SF 


foeste Jaroslava Serferta 


Typograficka 
Gpravaaobalka 
Karla Teigeho 


EDICE 
H OSTA 


svazek l. 


Rediguje Fr. Gstz 


NAKLADATELSTVI VACLAVA PETRA 
PRAHA-BUBENEC Sochatska, 334 


Tiskem F. Obziny ve Vyskové Morava 
PRAHA 1925 


—_—_—_—_—_—_—_———————— 


KAREL TEIGE: 
Imprint of a 
poetry book 


222 


ABENTEUERBUCH 


a) 
” 
=) 
3 
— 
ad 
i) 
a) 


FAHRTEN- 
UND 


JAN TSCHICHOLD: Title-page of Colin Ross, Fahrten- und Abenteuerbuch 
(Permission to reproduce the originally intended frontispiece shown here was refused by the 
owner of the photography — another publisher — and it had to be replaced by a much worse 
photograph) 


223 


in 1923 in an edition of poetry by Mayakovsky, the Russian Futurist, “For 
reading aloud” (Diya golossa), from which we have already reproduced two 
double spreads (pp. 62, 63, and 219). The first pages of the poems are 
designed as pictorial paraphrases of their contents, as an optical expres- 
sion of the spoken word. By means of a thumb index, as in a letter-file, a 
particular poem can be quickly found. 

Another Russian, Rodchenko, in the book Pro eto by Mayakovsky, in 1923, 
was the first to illustrate the text by means of photography. With single 
photos in different sizes a new pictorial unity has been created (photomon- 
tage). The strength of design of the artist is here no longer expressed by 
the individual line of a drawing, but by the harmonious combination of var- 
ious truly objective (photographic) related elements. The Dadaist pho- 
tomontages were predecessors of these illustrations. The Malik publishing 
firm, founded in the Dada period, has made special use of these pho- 
tomontages on their covers. With them, their creator John Heartfield has 
provided models for contemporary book-jackets. He is the inventor of pho- 
tomontage bindings. His Malik-bindings are the first of their kind. 
Similarly, some modern-thinking artists in Czechoslovakia, especially Karel 
Teige, have made a Series of remarkable bindings for some Prague publish- 
ers and designed the books themselves. 

In Germany, L. Moholy-Nagy has become known as a typographic designer 
through the Bauhaus books. 

There is an important section of book production whose books, by nature 
of their text, like Marinetti’s Les mots en /iberté futuristes or Lissitzky'’s “For 
reading aloud,” are not suitable for being designed. While there the typo- 
graphic form is an independent (but inseparable) part of the whole work of 
art, typography in these books fills a purely subservient role. 

To talk of “Neue Sachlichkeit” (New Objectivity) in their conception is here 
quite wrong, because objectivity in book design is by no means a new prin- 
ciple. With books of this kind (i.e. novels, and most scientific literature) it 
is not a question of making a really new kind of book (in a technical sense), 
because the old book-form is perfectly suitable for this kind of book, and 
will remain so until a better form is discovered. There is absolutely no need 
for change, which would only be justified when a really new form is found. 
In connection with typographic form, only modifications in traditional book 
design are possible. However little significance they may have for the 
actual content, they still seem to us to be important enough: just as the 
characteristic book-forms of the Gothic, Baroque, Rococo, and Wilhelm- 
enian eras remained virtually unchanged technically, so our own time must 
create its own expression in the typography of the book. 


224 


Aertel iesiaceiey 
Ich denke, schaffen besten nichl in der Fabribation von Kunat 
worken, sondorn in einem lorlwahrenden Suchen nach neven 
Ausdrucksmillteln, 


Créerne consiste pasenta fabrication doeurres d'art, mars pluto! 
en ta recherche continuelie de nouveau: movens plastiuues 


Lo nature est organiaée dons sao totalile 
dans les onnepes qui rdglent les cristaus 
les insoctes en hi¢rarchie comme lorbre 
Tovle chose naturelle gordo sa clare 
dorganisotion, cachée, tide por dos rela: 
trons que se groupent commo Ia famille 
des lumiéres lunoiras, centre de foue qui 
fournerait 6 Minka, on sohere, clio nove 
sa loerié, son existance derritté, absolue, 
& ces lois mnombrables, constructives. 


en welche crceniseh sing = L artiste est un createur. i! seit trave:tier une fo me qui Cevien! crganicue, ep 


~ 


eo da Der Kinstier ist en Sendoter, er hann Formen gesiz: 


sulgebdaut werden. Jedes Oing in dee Natur ist wor im Aufbau, verborgen over sichtbar gemacnt durch Berienungen, die zu 
emander stehen we die Familie der Mondstranien, Achse dines Rades, das sich bis ins Unendiiche un reise drent und bindct 


Ore Natur ist in shear Gesamihent organtsiert, in den Grunageselzen nach welcnen dle Mristatie, die tnserten ors Minaut zum Baum 
seine Freshest seine letzte absolute Eustenz an unzahlige sonstrubtwe Gesetze. 


— 


Gee 


EL LISSITZKY and KURT SCHWITTERS: Double-page spread from the “Nasci” issue of Merz 8/9. 1924. 


Entwurf 


Buchformate 


Formate der gehefteten beschnittenen Bucher 


£2 14207 596) 


$3 13534500) 


AJ (2972 420} 


8% 12501 35) 


M4 (216s 297) 


85 1196 1250) 


AS (1494220) 


Die Buchformate sind DIN 476 — Papierformate — entnommen. 


Die Formate der A-Reihe, nach der Geschaftspapiere, Werb- 
sachen, Akten, Karteikarten festgelegt sind, sind auch fiir 
Bucher zu bevorzugen. 


Fir Geschaftsbucher werden alle Formate der A-Reihe von A2 bis A7 
verwendet. 

Fur Falle, in denen sich die A-Formate nicht verwenden lassen, sind die For- 
mate der B-Reihe zulassig. 

Die Formate kénnen hoch und quer verwendet werden. 

Geheftete beschnittene Bicher (und Zeitschriften) haben genau Norm- 
format. 

Bicher mit austrennbaren Blaitern sind um den Blockrand breiter als Norm- 
format; das ausgetrennte Blatt mu8 Normformat haben. 

Ist beim Binden ein weiterer Beschnitt notwendig, so werden die Blatter 
etwas kleiner als Normformat. Dafiir steht der Deckel entsprechend tiber. Die 
Héhe des Deckels muB genau dem Normformat entsprechen, die Breilé ist 
durch das Bindverfahren bedingt. 

Uber Rohbogen und Satzspiegel liegen noch keine Normen vor, sie sind so zu 
wahlen, daB das geheftete Buch auf Normformat beschnilten werden kann. 


Oktober 1926 


226 


Since to this form of a book its type is particularly significant, one change, 
namely the discarding of historical and historical-seeming typefaces, must 
be striven for. While in all other areas there are signs of movement towards 
modernization, our modern books on the contrary are still using the histor- 
ical forms of fraktur and roman. 

The present universal and exaggerated obedience to the pre-1914 watch- 
word “material quality!” has meant, among other things, that German books 
are the most expensive in the world. So for someone of even average 
income, the German book has become an almost unattainable luxury object. 
It follows that we want today: 

1. a contemporary (therefore not historical) typographic form; 

2. inexpensive books for people, not luxury books for snobs. 

Concerning the letterform of the text typeface, one can refer to the section 
in the present book that deals with this topic. But certainly one will be 
thinking of a roman designed not by any one person: a classic typeface — 
say Garamond — or a contemporary typeface such as Nordische Antiqua. 
This will be so as long as one cannot get hold of a sanserif in quantities 
that make its use as a text face possible. It is obviously not good to set a 
whole book in bold or semi-bold sanserif, since these types in quantity are 
not easily legible. For everyday use, light or ordinary sanserif should be 
used, and the present book shows that sanserif can be read as easily as 
any other typeface. For display, semi-bold and bold sanserif, Egyptians and 
bold roman are the most suitable. The text of travel books or novels can 
also be organized visually with larger and smaller bold sanserif for head- 
ings. The photographic block is being introduced into the book as a new 
element. 

The Renaissance ideal — a book page of even grey — is finished; instead 
we have harmony from contrasting typographic and photographic elements 
using brightness, space, and direction. Contemporary bindings and book- 
jackets similarly show an increasing use of photography. 

It is already clear today that a new form of book exists. 


Book formats 

The standard book formats on the facing page are not suitable for imagina- 
tive literature — for novels and similar books which are held in the hand for 
reading, they are too wide and therefore uncomfortable — but they certainly 
are for larger books, scientific works, catalogues in book form, handbooks 
(the present book is in AS), and are also suitable for smaller books (A6). 
The format A4 is very good for art books, monographs, etc. 


227 


It seems necessary to find a standard format also for novels, corresponding 
with the way they are used. The DIN-format page proportion is not suitable 
for these books. Perhaps we should standardize only their page depths, 
e.g. 176 mm depth for novels. 


228 


BIBLIOGRAPHY 
In chronological order within the different language groups. 


The bold letters following indicate: 

b = wholly illustrated books 

d = poetry 

t included only for their typography 
Books marked with °® are especially recommended for the reader. 
Information on prices can be obtained from the publishers and booksellers. 


Periodicals for modern design (in alphabetical order) 

ABC. Beitrage zum Bauen. Basel, Augustinergasse 5. 

DER ARARAT. Glossen, Skizzen und Notizen zur Neuen Kunst. Goltzverlag, 
Munchen, 1919-1921. 

DER STURM. Herausgeber Herwarth Walden. Berlin, Potsdamer Str. 136a. 

DE STIJL. Zeitschrift fur Neue Gestaltung. Herausgeber Theo van Doesburg. 
Kommissionsverlag fur Deutschland: Ernst Wasmuth AG, Berlin. 

°*G{).Zeitschrift fur elementare Gestaltung. Herausgeber Hans Richter, 
Berlin-Grunewald, Trabenerstrafee 25. 

*GEGENSTAND. Internationale Rundschau der Kunst der Gegenwart. 
Herausgeber El Lissitzky und llja Erenburg. Verlag Skythen, Berlin- 
Grunewald, Karlsbader Strafe 16. Only nos. 1/2 and 3 (1922) appeared. 

LESPRIT NOUVEAU. Revue Internationale illustrée de Il'activité contemporaine. 
Directeurs: Ozenfant et Jeanneret. Paris, Jean Budry et Cie, 1921-1925. 

MA. Zeitschrift fur aktive Kunst. Herausgeber L. Kassak. Wien XIII, Amalien- 
strafge 26. 

*MERZ. Herausgeber Kurt Schwitters, Hannover, Waldhausenstrafse 5, II. 

PASMO. Herausgeber Artus Cernik, Brno-Julianov, Husovo nabr. 10. 


Special numbers (in chronological! order) 

*JUNGE MENSCHEN. Bauhausheft. November 1924. Typography: Joost 
Schmidt. Hamburg 13, Johnsallee 54. 

DAS NEUE RUSSLAND. Sonderheft Russisches Theater. 1925, 3/4. Heraus- 
geber Erich Baron, Berlin-Pankow, Kavalierstrafge 10. 

*DER BUCHERKREIS. Sonderheft Neue Kunst. 1925, Heft 12. Verlag des 
Bucherkreises, Berlin SW68, Belle-Alliance-Platz 8. 

LES CAHIERS DU MOIS. Nos. 16/17: Cinéma. Editions Emile-Paul Fréres, 
14, rue de l'‘Abbaye, Paris, 1925. 

LES FEUILLES LIBRES. Sonderheft Man Ray, Mai-Juin 1925. Paris, Librairie 
Stock. 


229 


QUALITAT. Sonderheft Das Bauhaus in Dessau. 1925, 5/6. Internationale 
Propaganda-Zeitschrift fur Qualitatserzeugnisse, Berlin-Charlottenburg 9, 
Redaktion C. E. Hinkefufs. 

*TYPOGRAPHISCHE MITTEILUNGEN. sonderheft elementare typographie. 
1925. heft 10. redaktion jan tschichold. verlag des bildungsverbandes der 
deutschen buchdrucker, berlin. 

*ABC. Serie 2, Nr. 2. Sonderheft Neue Kunst. Redaktion Hannes Meyer, 
Basel. Augustinergasse 5, 1926. 

*DAS WERK. Sonderheft Die Neue Welt. Juli 1926. Redaktion Hannes 
Meyer. Verlag Gebr. Fretz AG, Zurich. 

“OFFSET, BUCH- UND WERBEKUNST. Bauhausheft. 1926, Heft 7. Leipzig, 
Seeburgstrafge 57. 


Czech 
ZIVOT Il. Sbornik nové krasy. Typography: Karel Teige. Photomontage on 
cover: Feuerstein — Krejcar — Sima-Teige. Vylvarny odbor umelecké 


besedy, Praha II, 1922. 

\ITESLAV NEZVAL: Pantomima. Cover: Jindrich Styrsky. Typography: Karel 
Teige. Praha, 1924. d 

KAREL TEIGE: Film. Cover and typography by the author. Vaclav Petr, 
Praha-Bubenec, 1925. 

J. HONZL: Roztocené jeviste. Cover: Styrsky and Toyen. Typography: Karel 
Teige. Jan Fromek, Praha, 1925. 

JAROSLAV SEIFERT: Na vinach TSF. Typography and cover: Karel Teige. 
Vaclav Petr, Praha-Bubenec, 1925. d 

VITESLAV NEZVAL: Mensi ruzova zahrada. Cover: Styrsky and _ Toyen. 
Typography: Karel Teige. Odeon. Praha, 1926. d 


Danish 

HARALD LANDT MOMBERG: Aktiv Reklame. Nye principer i annoncerin- 
gens kunst, K6dbenhavn-kristiania-Berlin, Det Ny Studentersamfunds 
Forlag, 1924. 


Dutch 
EL LISSITZKY: Suprematisch worden van twee quadraten. Verlag De Stijl, 
Clamart (Seine), Frankreich, 64 av. Schneider, 1922. bd 


French 
F.T. MARINETTI: Manifeste du futurisme (publié par le Figaro” le 20 février 
1909). Leaflet. Milano, n.d. 


230 


BALILLA PRATELLA: Manifeste des musiciens futuristes. Leaflet. Milano, 
1911. 

F. T. MARINETTI: Supplément au manifeste technique de la littérature futu- 
riste. Leaflet. Milano, 1912. 

UMBERTO BOCCIONI: Manifeste technique de la _ sculpture  futuriste. 
Leaflet. Milano, 1912. 

LUIGI RUSSOLO: L’art des bruits. Leaflet. Milano, 1913. 

F. T. MARINETTI: Les mots en liberté futuristes. Edizioni futuriste di 
»Poesia”. Milano, 1919. 

TRISTAN TZARA: cinéma calendrier du coeur abstrait. maisons. bois par 
arp. collection dada. au sans pareil, 37 avenue kléber. paris, 1920. db 

F. T. MARINETTI: Le tactilisme. Leaflet. Milano, 1920. 

JEAN EPSTEIN: Cinéma. Paris, Editions de la Siréne, 1921. 

MAX ERNST: Les malheurs des immortels, révélés par Paul Eluard et Max 
Ernst. Paris, Librairie Six, 1922. db 

MAN RAY: Champs délicieux. Album de photographies avec un préface de 
Tristan Tzara. Paris, 1922. b 

TRISTAN TZARA: sept manifestes dada. quelques dessins de _ francis 
picabia. éditions du diorama. jean budry & co, 3, rue du cherche-midi, 
paris, n.d. (1925). 

ANDRE BRETON: Manifeste du surréalisme. Pdisson soluble. Paris, Simon 
Kra (1925). 

LE CORBUSIER: Vers une architecture. Paris, G. Crés & Cie, n.d. (1924). 

LE CORBUSIER: Urbanisme. Paris, G. Crés & Cie, n.d. (1925). 

LE CORBUSIER: Lart décoratif d’aujourd’hui. Paris, G. Crés & Cie, n.d. (1925). 

LE CORBUSIER: La peinture moderne. Paris, G. Crés & Cie, n.d. (1925). 

LE CORBUSIER: Almanach d’architecture moderne. Paris, G. Cres & Cie, 
n.d. (1925). 


German 

DIE SCHRIFTEN DER ,BRUCKE”, Internationales Institut zur Organisierung 
der geistigen Arbeit. Munchen 1911-1912. 

MANIFEST DES FUTURISMUS. Katalog der Ausstellung ,Der Sturm”. 
Berlin. Der Sturm, 1912. 

HANS ARP: die wolkenpumpe. paul steegemann. verlag. hannover, 1920. d 

RICHARD HUELSENBECK: En avant dada. Eine Geschichte des Dadaismus. 
Paul Steegemann, Hannover, n.d. (1920). 

*DR. W. PORSTMANN: sprache und schrift. Beuthverlag. Berlin, 1920. 

GEORGE GROSZ: Mit Pinsel und Schere. 7 Materialisationen. Berlin, Malik- 
Verlag, 1922. b 


231 


MA-BUCH NEUER KUNSTLER (100 pictures). Redigiert von L. Kassak und 
L. Moholy-Nagy. Ma-Verlag L. Kassak, Wien XII!, Amalienstr. 26, 1922. 

KURT SCHWITTERS: Anna Blume, Paul Steegemann, Hannover, 1922. d 

EL LISSITZKY: Figurinen. Die plastische Gestaltung der elektromechanis- 
chen Schau: Sieg Uber die Sonne. 10 original lithographs. Hannover, 1923. 
b 

EL LISSITZKY: Proun. 6 original lithographs. 1. Kestnermappe. Hannover, 
Ludwig Ey, 1923. b 

STAATLICHES BAUHAUS IN WEIMAR 1919-1923. Typography: L. Moholy- 
Nagy. Bauhausverlag. Weimar-Munchen, 1923. 

SAMMLUNG GABRIELSON-GOTEBORG. Erwerbungen 1922/23 Berlin. Mit 
Beitragen von Adolf Behne, Ludwig Hilberseimer, S. Friedlander-Mynona, 
N.p., n.d. 

PRESSESTIMMEN (AUSZUGE) FUR DAS STAATLICHE BAUHAUS 
WEIMAR. Typography and jacket: L. Moholy-Nagy. Weimar, n.d. (1924). 
PROF. DR. C. AUGUST EMGE: Die Idee des Bauhauses. Kunst und Wirk- 

lichkeit. Pan-Verlag Rolf Heise, Berlin, n.d. (1924). 

“INTERNATIONALE AUSSTELLUNG NEUER THEATERTECHNIK WIEN 
1924. Katalog, Programm, Almanach. Herausgegeben von Friedrich 
Kiesler. Typography: Friedrich Kiesler. Verlag Wurthle & Sohn Nachf., Wien 
|, Weihburggasse 9, 1924. 

LU MARTEN: Wesen und Veranderung der Formen — Kunste. Taifun-Verlag, 
Frankfurt a.M., 1924. 

BRUNO TAUT: Die neue Wohnung. Die Frau als Schdpferin. Cover: Jo- 
hannes Molzahn. Klinkhardt & Biermann, Leipzig, 1924. 

L. TROTZKI: Literatur und Revolution. Verlag fur Literatur und Politik. Wien, 
1924. 

WERBWART WEIDENMULLER: gesang vom werbewerk. stettin, willy 
puppe, 1924. 

ALMANACH EUROPA 1925. Gustav Kiepenheuer, Potsdam, 1924. 

HANS ARP: der pyramidenrock. eugen rentsch verlag, munchen, 1925. d 

*ADOLF BEHNE: Von Kunst zur Gestaltung. Einflhrung in die moderne 
Malerei. Cover: Oskar Fischer. Arbeiter-Jugend-Verlag, Berlin, 1925. 

DR. ANNA BERLINER: Japanische Reklame in der Tageszeitung. Stuttgart, 
C.E. Poeschel Verlag, 1925. 

MAX BURCHARTZ: Folder with leaflets for the Bochum Association for 
Mining and Cast-Steel Production (typography with photomontage). 
Bochum, 1925. t 

LUDWIG HILBERSEIMER: Grofstadtbauten (Neue Architektur 1). Apof- 
verlag, Hannover, 1925. 


232 


°EL LISSITZKY UND HANS ARP: Kunst-Ismen 1914-1924. Typography: EI 
Lissitzky. Eugen Rentsch Verlag, Munchen, 1925. 

DIE SCHEUCHE. Marchen. Typographisch gestaltet von Kurt Schwitters, 
Kate Steinitz, Theo van Doesburg. Apoverlag, Hannover, 1925. d 

KURT SCHWITTERS UND KATE STEINITZ: Die Marchen vom Paradies. 
Typography: Kurt Schwitters. Apofverlag, Hannover, 1925. d 

COLIN ROSS: Fahrten- und Abenteuerbuch. Typography and cover: Jan 
Tschichold. Verlag der BUchergilde Gutenberg, Berlin, 1925.t 

GUTENBERGFESTSCHRIFT 1925. Herausgegeben von A. Ruppel. Verlag der 
Gutenberg-Gesellschaft, Mainz, 1925. 

ARTHUR SEGAL UND NIKOLAUS BRAUN: Lichtprobleme der bildenden, 
Kunst. Berlin, 1925. 

DIE BAUHAUSBUCHER: 
1 Walter Gropius: Internationale Architektur 
2 Paul Klee: Padagogisches Skizzenbuch 
3 Ein Versuchshaus des Bauhauses 
4 Die Buhne im Bauhaus 

°5 Piet Mondrian: Neue Gestaltung 

*6 Theo van Doesburg: Grundbegriffe der neuen gestaltenden Kunst 
7 Neue Arbeiten der Bauhauswerkstatten 

°8 L. Moholy-Nagy: Malerei, Photographie, Film 
9 W. Kandinsky: Punkt und Linie zu Flache 

10 Oud, Hollandische Architektur 

11 Maléwitsch, Die gegenstandslose Welt 
Albert Langen, Verlag, Munchen, 1925/28. 

LE CORBUSIER: Kommende Baukunst (= Vers une architecture). Deutsche 
Verlagsanstalt, Stuttgart, 1926. 

5O0OJAHRESTADTTHEATER IN MAGDEBURG. Festschrift. Gesamtausstattung: 
Johannes Molzahn. Verlag: Mitteldeutsche Reklame-Gesellschaft m.b.H., 
Magdeburg, 1926. t 

DIE FORM. Zeitschrift fur gestaltende Arbeit. Verlag Hermann Reckendorf 
Berlin W 35, 1926. 

RUDOLF KURTZ: Expressionismus und Film. Berlin, Verlag der Lichtbild- 
buhne, 1926. 

KATALOG 1926/I der Richmod-Galerie Casimir Hagen, Kdln, Richmodstr. 3. 
Typography: Anton Raderscheidt. Koln, 1926. t 

SIEGFRIED EBELING: Der Raum als Membran. Dessau, 1926, C. Dunnhaupt 
Verlag. 

KARL SCHEFFLER: Zeit und Stunde. Leipzig, Insel-Verlag. 


233 


A NOTE ON THE BOOK AND ITS DESIGN 

This first publication of an English-language version of Jan Tschichold’s Die 
neue Typografie (1928) has attempted to follow the author's original page 
layouts and design precepts as closely as possible. Aurora Grotesk, shown 
in the Berthold Phototypes E1 catalog (1974). was identified as the type- 
face closest to that used in the original German edition; this typeface, how- 
ever, had not been digitized at the time the California edition was pro- 
duced. The text was set in 7.75 Imago Light Extended with 11.6 point lead- 
ing. The typeface was revised by extending its overall set widths by 112 
percent: character spacing was expanded to a Quark XPress tracking value 
of 16. Display fonts were set in Frutiger Ultra Black with a tracking value of 
19. Illustrations were scanned from the reprint issued by Brinkmann & Bose 
(Berlin: 1987), and from Leben und Werk des Typographen Jan Tschichold 
(Munich: G. K. Saur, 1988). Paper and binding materials were selected to 
approximate those used in the Brinkmann & Bose edition. Sponsoring Editor: 
Edward Dimendberg, University of California Press, Los Angeles. Produc- 
tion Editor: Rebecca Frazier, University of California Press, Los Angeles. 
Production Coordinator: Danette Davis, University of California Press, 
Berkeley. Research and Design: Steve Renick, University of California 
Press, Berkeley. Research and Composition: Hassan Herz, TBH Typecast, 
Cotati, California. Image Scanning: ScanArt, Richmond, California. Printing 
and Binding: Edwards Brothers Inc., Ann Arbor, Michigan. 


236 


Jan Tschichold (1902-1974), a typographer and 
‘teacher, became internationally known in 1925 with 
the publication of Elementary Typography, the first 
statement of constructivist graphic design principles. 
After being taken into “orotective custody” by the 
National Socialists for “cultural bolshevism,” he left 
Germany in 1933 for Switzerland, where he worked 
as a typographer until 1946. From 1946 to 1949 he 
made his home i in London, where he oversaw the 

| typographic reform of pongo Books. | 


Ruari McLean, a fpourapher and scholar ving i in 
Scotland, is the author of Jan Tschichold: 

: Hipogiap is! (1975). 

: Robin Kinross is a London typographer and sonal 
and the author of Modern Typography: | 
An Essay. in Critical History (1 992). 

Weimar and Now: German Cultural Criticism, 8 

A Centennial Book — 


Jacket design: Steve Renick 


a 


De ee a 
a ee f 
oe ies : Ls ae ies.” 2 


msien i : 


shone 


ie ote se | and dali nt a oe = sets 


ke A Seva oF ie Design : . a j oy ee e nate a 


abalone al of Baas 

sa fan | 

) & csvantiel & con sng centanan 
ae viswel lhcommunicsion”: a 


Cia shots : 


LSB BS Seah inl) b 


cn Wi 


A