Wednesday, February 13, 2013
Jan Tschichold and the new typography
The
essence of the new typography “was clarity, not simply beauty; its objective
was to develop form from the functions of the texts” and emphasized “rational
design planned for communicative function.” Discuss Jan Tschichold’s background
and role in the spread of the new typography. Include at least three links to examples
of his work that aren’t found in Meggs’s A History of Graphic Design to support
your discussion.
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Jan Tschichold believed that typography should aim to communicate messages in “the shortest, most efficient manner” and pioneered the philosophy that type should be clear and functional (1). He stood behind sans-serif type and asymmetrical layouts that became the hallmarks of the New Typography movement. His Elementare Typographie insert was a manual that literally pointed out how designers, printers and typesetters could go about designing with these principles in mind (1).
ReplyDeleteTwo of Jan Tschichold’s posters use very asymmetrical layouts (2). In the poster on the left, he uses lines to portray a sense of depth that brings a lot of weight to the top of the composition, while leaving the bottom right spare and light. The typeface he uses in the design is a little more decorative than the more functional typefaces of the New Typography movement, like Futura, but it is still a sans-serif. The poster on the right also uses lines and skews images to portray depth, but it has a bit more balance than the other poster. It’s still very asymmetrical though, with the weight shifting to the left.
Another poster by Jan Tschichold, “Piquedame,” is again asymmetrical (2). The type here is more functional than in the other two posters and looks closer to the clear sans-serifs that the New Typography movement identifies with. It adds just a tiny bit of a decorative element on the Q, and the top of the A is cut off, but it is still very straightforward and simple.
(1) Megg’s History of Graphic Design
(2) http://michaelpimblett.wordpress.com/2011/10/14/neville-brody/#jp-carousel-74
(3) http://www.thecitrusreport.com/wp-content/uploads/2011/05/9.jpg
The poster for Laster Der Menschheit is a great example of how asymmetrical layouts can really make a design dynamic. If this same concept had been applied statically, it would lose its affect in creating depth. I am always impressed that all of this was done before the advent of computers; it would be easy to reproduce the poster in Photoshop, but to create it by hand and still have it look professional is a skill that I think is diminishing among designers.
DeleteAsymmetry is an excellent tool to give energy to a design. Katie, notice how the color change in the word piquedame is reflected in the image of the woman. This creates visual tension, in a very good way!
DeleteThe "Piquedame" poster looks very dramatic, not just because of the image. The whole compostion is dynamic, and the type goes really well with the image.
DeleteHis combined usage of classic photography and symmetrical design creates levels of depth of field that become almost irresistible to the eyes. the following link. "http://michaelpimblett.wordpress.com/2011/10/14/neville-brody/#jp-carousel-74" displays this beautifully.
DeleteIn 1923, Jan Tschichold happened to visit an exhibition at the Bauhaus (then in Weimar), in which he was very impressed with the work and began to develop a passion for the concepts of the Bauhaus and Russian constructivists, incorporating these elements into his work (1). He created “Elementare Typographie,” a 24-page insert that “explained and demonstrated asymmetrical typography to printers, typesetters, and designers” (1). Tschichold was the one to really spread the word about this new movement in typography, often referred to as the one that established the fundamentals of modern typography (2).
ReplyDeleteHe is known for “functional design by the most straightforward means” (1), and as you can see in his film poster; “Napoleon” and “Phoebus Palast” are clean and legible (3). The red circle around the man on the horse first grabs your attention, then your eyes move along “Napoleon” to the arrow, where the information is. I think this is a successful way to advertise a film without using much text or clutter.
An example of his use of asymmetrical typography can be seen in the inner pages of his book The New Typography (4). He uses a clear, high contrast image. The text has uneven line lengths but the left side is lined up perfectly. Experimenting with the weight and color of the text quickly lets the reader know the difference between the headline and subtext.
(1) Megg's History of Graphic Design, p336-337
(2) http://www.jan-tschichold.com/
(3) http://80magazine.wordpress.com/2009/07/24/proceso-process/
(4) http://www.guardian.co.uk/culture/gallery/2008/dec/05/design#/?picture=340414495&index=3
It's great how Jan Tschichold manages to use straightforward sans-serif type in a dynamic way so that there's a sense of flow and movement in his designs. You can really see that in Napoleon; the font looks pretty standard but it's diagonal orientation interacts with the red circle and ties them together really well.
DeleteThe font in the Napoleon design falls directly in line with the new typography. Much energy is interjected into the design through the use of color. How effective would this be if the design was in shades of neutrals? Would it has as much visual punch?
DeleteAlthough the circle is thick and commands attention, I think the red definitely helps grab your attention. The same goes for the Napoleon text - the angle and scale pull you in, but if the whole design was in neutrals it wouldn't be as arresting. I think black and white, since they have a high contrast, would be closer to the effect the color gives than neutrals.
DeleteJan Tschichold was the son of a designer and sign painter in Leipzig, Germany. He developed an interest in calligraphy and studied at the Leipzig Academy, and later became of professional Calligrapher. He attended the first Bauhaus exhibition in Weimar, which has a huge impact on him. He felt a dynamic force should be present in each design, he argued, for type should be set in motion rather than at rest. He also said that symmetrical organization was artificial because it placed pure form before the meaning of the words. As dana mentioned his work was known for being straightforward, but this does not mean boring. By using interesting compositions and playing with horizontal and vertical lines/text his work was always eye catching and extremely effective. For example the Phoebus-Palast piece was created in 1927. Tschichold uses both vertical and horizontal structure throughout this piece. He infuses type with image by using actual type to form what seem to be lines from a distance, which act as a directional pattern for bolder text. By having text of difference size and color going in different directions Tschichold provides a sense of movement by forcing the viewer’s eye to move from word to word up down left and right.
ReplyDeleteImage Links
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5951&page_number=5&template_id=1&sort_order=1
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5951&page_number=7&template_id=1&sort_order=1
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5951&page_number=4&template_id=1&sort_order=1
Cite
Megg's History of Graphic Design
http://www.moma.org/collection
I can definitely see what you mean by using type to seem like lines from a distance, particularly in the Musikalische und Filmdarbietungen von Rang, Programm example. What looks like elements or rules from far away breaks up into type the closer you get; this was an intelligent way for Tschichold to make sure the poster was received well from all distances.
DeleteThe Buster Keaton in: "Der General" shows a great use of asymmetry which makes the design much more interesting compared to if he had just laid his composition out vertically. I think it always your eye to move around the piece also.
DeleteI think movement was a big part of his work. By creating movement in his work he guides the audience through the piece. He controls where he wants the viewer to look and why they should look there. By doing this he makes his point almost impossible to misread the message.
DeleteI like that you brought up the point that he argued " Type should be set in motion". Because once you take this into consideration you notice the images in his works flow together so gracefully. It's as if he kept this in mind before every endeavor.
DeleteI like that Jan Tschichold had a reason for preferring asymmetrical type other than pure aesthetics. It makes sense that type should be set in motion and be a bigger, more dynamic part of the compositions, since type is what does most of the communicating in many designs.
ReplyDeleteI definitely agree with you! One thing I like about Jan Tschichold's designs is that are very straightforward and direct. Whatever element he decides to use (single shapes, or forms) helps to emphasize the type which is the most important part of his designs. Everything looks very intentional but eloquent.
DeleteHe definitely knew what he was doing when it came to effective composition. He not only created interesting pieces, but all of his work conveyed a message to a specific audience. He used the integration of type and image well which really made his work strong.
DeleteJan Tschichold was a German artist trained calligrapher and typographer who attended the first Bauhaus exhibition in August of 1923 (1) and became entranced with the ideas. “He rapidly assimilated the new design concepts of the Bauhaus and the Russian constructivists into his work and he became a practitioner of die neue Typographie.” He became extremely interested in asymmetrical typography and designed the “Elementare Typographie (2),” which explained and demonstrated that to printers, typesetters and designers. Tschichold’s aim was to create a functional design by the best and most straightforward means; it was a message that people had to get right away. Function was not the only thing that New Typographers sought in their design; they were also looking for beauty and something pure, something that wasn’t found in previous design works. Aesthetically, Jan thought that visual design needed contrasting elements, should be based off of horizontal and vertical grids, and the text should be plain and simple, without extra “embellishments.” Most type of the New Typography movement were sans serif typefaces with a wide range within the families.
ReplyDeleteAfter Tschichold was arrested and imprisoned by the Nazis for being accused of going against German design, he was released and eventually went back to traditional design methods and techniques. He started using calligraphy again in his design and serif typefaces. He realized that his brochure on New Typography was too extreme and “genuine torture.”
Some of Tschichold’s most famous designs include the universal alphabet, which is still used today. It is all lower case letters, no capitals and in a sans serif typeface. (3) He also designed other typefaces including Sabon, Zeus, Saskia and Transit. For part of his career, Tschichold worked for Penguin Books, eventually designing over 500 covers for them. He developed the standardized way of designing all of their book covers. Each part of his design career, Jan has found a way to revolutionize the way that people and designers look at type. Almost a hundred years later, after looking at some of his work, you can still see his influence in design today.
(1) Meggs page 335
(2) http://www.jan-tschichold.com/
(3) http://en.wikipedia.org/wiki/Jan_Tschichold
(4) http://www.designishistory.com/1920/jan-tschichold/
Jan Tschichold visited the first Bauhaus exhibition in Weimar and was completely changed after that visit. Considering he was interested in calligraphy at an early age and his newly founded interest in Bauhaus, his influence in typography would be rather legendary. He quickly started to elude to new design ideas of both, Bauhaus and Russian constructivist, into his work. Tschichold broke out from traditional ways and demonstrated asymmetrical typography to “express the spirit, life and visual sensibility of the day.” His goal was to create functional, straightforward designs. His typography is the prime example of delivering messages in a rapid way. Hence, his reasoning of typically using san-serif type, while also using them in different range of weights and proportions. He believed type should project movement, while contrasting the elements expressed in the age of machine. He was a fan of using horizontal and vertical structures, along with using rules, bars, and boxes to emphasize structure and balance. (1) His attempts to use verticals and horzontals is played with in his, “Buster Keaton in: "Der General” poster, and his “Phoebus-Palast, Musikalische und Filmdarbietungen von Rang, Programm” poster. (2)(3) Both posters uses his simple san-serifs fonts like in "Schriftkunde Schreibübungen und Skizzieren” poster. (4) This particular poster also integrates the backround to play with text. WE don’t really see a system of symmetry throughout all of his works, however he does manage to keep all of his asymmetrical type balanced.
ReplyDeleteMegg’s History of Graphic Design Pg. 336-337
http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5951&page_number=1&template_id=1&sort_order=1
http://www.moma.org/collection/object.php?object_id=7701
http://www.moma.org/collection/object.php?object_id=6110
I think the examples of poster designs by Tschichold really portray his New Typography influence in his design work. This is especially evident in his "Buster Keaton in: Der General." The poster is so simple and clearly gets the message across while using a sans serif typeface. Like Jessica says, he is really trying to attempt using verticals and horizontals to the extreme. Everything is balanced asymmetrically and the thick rule connects the type together as well as aligning it. I really prefer this style of design then his previous or later traditional design work, although both work in their own way.
DeleteJan Tschichold, a typographer, book designer, teacher and writer was the creator of the concept for the New Typography. Tschichold was trained in calligraphy, which had set him apart “from almost all other noted typographers of the time, since they had inevitably trained in architecture or the fine arts.” Naturally the Bauhaus movement inspired Tschichold at the time of visiting an exhibit in Weimar, Germany. Eventually this new approach helped him to apply the Russian constructivism style to his own design and formally develop a new innovative style that became known as New Typography.
ReplyDeleteSome essential elements that were first applied for the development of his backgrounds and spreads, consist of:
Asymmetry in order to “express the spirit, and visual sensibility of the day” (Meggs, 337), Direct message, functional design, type represented in motion instead of static, Grid-like patterns, rejection to any kind of decoration that may result of distracting the viewer to understand the message, white space, rules, bars, boxes and photographs instead of abstract illustrations.
To conclude these essential needs were relevant in order to objectively conveyed the message. It also portrays a unification of form and function and it definitely enhances some kind of beauty even if it clearly lacks decorative elements. Rules bars and other form help to emphasize and apply balance, at last everything seems intentional.
(1)http://michaelpimblett.wordpress.com/#jp-carousel-74
(2)http://retained.blogspot.com/2009/06/jan-tschichold-die-kameliendame.html
(3)http://pinterest.com/pin/79305643408329628/
Jan Tschicholds skills and talents came early as he was the son of a script writer Franz Tschichold. His father introduced young Tschichold to many forms of written scripts. His goal was to become a painter but his parents believed it to be to unstable. So he became a drawing teacher. At age 14 he started teaching. In 1914 the World's Fair for Books and Graphics captured his attention and soon developed his passion for type. Tschichold studied calligraphy and different forms of scripts in his free time. This became is backbone in his knowledge in old typefaces. He then decided to quit school and wanted to be a typeface designer. He then attended the Academy for Graphic Arts in Leipzig. He learned engraving, copperplate, woodcutting, wood engraving and book binding. In 1921, when he was just 19, the academy director asked Tschichold to teach an evening class in script writing. In 1923 he began the once unknown profession of a typographic designer and worked as such for Fischer & Wittig, a major book printer in Leipzig. In 1924 he was influenced by the style of the Bauhaus after a visit to an exhibition.[1]
ReplyDeleteHe became a leading advocate of Modernist design: first with an influential 1925 magazine supplement; then a 1927 personal exhibition; then with his most noted work Die neue Typographie. This book was a manifesto of modern design, in which he condemned all typefaces but sans-serif. He also favored non-centered design, and codified many other Modernist design rules. He advocated the use of standardised paper sizes for all printed matter, and made some of the first clear explanations of the effective use of different sizes and weights of type in order to quickly and easily convey information. [2]
1.http://classes.dma.ucla.edu/Spring06/155/projects/richardn/jan/background.html
2. http://en.wikipedia.org/wiki/Jan_Tschichold
examples:
http://www.oswego.edu/~coughlin/NC_417/NC_417_project1/pages/page1.html
http://media.tumblr.com/tumblr_lxfyedH7dR1qmtcmy.jpg
http://farm6.static.flickr.com/5179/5469058528_3be01e7057.jpg
I think almost all artists can relate with his story, most of the parents think that being an artist is not a stable profession and some others even think that its not even a profession, just a hobby.
DeleteJan Tschichold was trained at the Academy of Graphic Arts and Book Design in Leipzig from 1919 to 1922 before working as a freelance designer. Influenced by the principles of Russian Constructivism and the designs of El Lissitsky he also attended the Bauhaus exhibition at Weimar in 1923 where he encountered other progressive ideas. At the age of 17, Tschichold threw his back against his life as a teacher and began his typographic studies. While he studied a range of creative endeavors, such as engraving, wood cutting and bookbinding, it seems as if his time of study didn’t involve a great deal of education. He was awarded the Gold Medal of the American Institute of Graphic Arts (AIGA, established 1914) in 1954.
ReplyDeleteAt the age of 26 he produced his most influential book, The New Typography. His examinations of book proportions and critical histories of lettering and typefaces, and the elegance of his book design, are on the shelves in advertising agencies and design studios. And his Penguin rules are now available, adjusted for the web. Perhaps his 70th birthday tribute was accurate after all.
http://www.guardian.co.uk/artanddesign/2008/dec/05/jan-tschichold-typography
examples:
http://vangeva.com/jan-tschichold/
http://25-horas.com/aniversario-jan-tschichold-penguin-books/
http://papiergraphique.blogspot.com/2008/11/jan-tschichold.html
Jan Tschichold was one of the best German artists who took an interest in calligrapher and typographer. He attended his first Bauhaus exhibition in August of 1923 and was automatically overflowing with ideas. With the overflowing ideas becoming a legend was surely in the bag. He started making new design from both Bauhaus and Russian. The fact that he started influencing typography in his vision just added to his legacy. His goal is to make his designs get straight to the point with no run around. He’s the type of artist to let you know what he wants to say first hand which is definitely shown in his typography. But what made his typography so interesting what that it wasn’t seen anywhere else, it gave a sense of purity and originality. He designed over 500 book covers and each of them has their own personality to them. It’s as if when he designs adds a little something extra that where you can’t see it in his last design. Till this very day his influences impact us visual and we are able to see it in other’s designs.
ReplyDeletehttp://typographica.org/typography-books/jan-tschichold-master-typographer/
http://www.designishistory.com/1920/jan-tschichold/
http://lisathatcher.wordpress.com/2012/02/06/jan-tschichold-the-book-designer-you-most-recognise/
Born in Germany of 1902, Jan Tshichold was a writer, typographer, and teacher. From 1919 to 1921, he studied graphic design at the Akademie for Grafische Künste and Buchgewerbe in Leipzig (1). He visited the Bauhaus exhibition in Weimar in 1923, where he became influenced by the typography and began using “sans-serif fonts, standardized paper sizes, photographs rather than drawn illustrations, asymmetrical rather than centered layouts. Partly as a result of [Stanley] Mondrian's influence, abstract art came to play a large part in Tschichold's work” (2). In 1925 he introduced the form of new typography and Russian constructivism in an issue of "‘typographische mitteilungen’ titled ‘elementare typographie.’”
ReplyDeleteHe eventually became a spokesman for the The Circle of New Advertising Designers by Kurt Schwitters in which he joined in 1927, forming the principles of The New Typography movement. They were sans serif typography, content design hierarchy, asymmetric balance of elements and intentional white space utilization (3). He ultimately produced his most influential book, “The New Typography” by age 26.
After being arrested and spending six weeks in jail, he and his family left Germany for Switzerland. By the 1930s, he had lost touch with The Circle of New Advertising Designers, and the movement came to an end.
Images:
http://pinterest.com/pin/156711262004952329/
http://www.rightreading.com/blog/art-and-illustration/typography/appreciating-tschichold/
http://www.moma.org/visit/calendar/exhibitions/1015
Sources Citied
(1) http://www.jan-tschichold.com/
(2) http://www.guardian.co.uk/artanddesign/2008/dec/05/jan-tschichold-typography
(3) http://www.designhistory.org/Avant_Garde_pages/DieNeueType.html
Jan Tschichold applied the new approaches of Bauhaus and modern art to everyday design problems and explained them to a wide audience of printers, typesetters, and designers. He was deeply impressed when he attended the first Bauhaus exhibition in Weimar, and rapidly assimilated the new design concepts of the Bauhaus and the Russian constructivists into his work and became a practitioner of The New Typography. He designed a 24 page insert entitled Elementare Typographie, which was a revelation and generated much enthusiasm for the new approach of asymmetrical typography. Here is a great link to Jan Tschichold's impact on typography, and several examples of his work not seen in the book. http://retinart.net/artist-profiles/jan-tschichold/
ReplyDeleteHere are a few additional links to specific works:
Deletehttp://lisathatcher.files.wordpress.com/2012/02/gallery-tschichold-the-wo-002.jpg
http://www.oswego.edu/~coughlin/NC_417/NC_417_project1/images/image3.gif
This comment has been removed by the author.
ReplyDeleteBorn in 1902 to a signwriter , Jan Tschichold was raised around calligraphy, which eventually lead to his first job as a calligrapher for advertisements. Around 1919, architect Walter Gropius created the Bauhaus, a school of arts and crafts, staffed with well-known artists such as Paul Klee and Wassily Kandinsky. Gropius also had imported art for the De Stijl and Monddrian movements. The Bauhaus had great influence on Tschichold, especially Hungarian artist Moholy-Nagy. This influence helped Tschichold birth new typography which in codified in his book Die Neue Typographie (1928). In this book he gives a firm foundation for good design: Sans-serif fonts, standardized paper sizes, photography in place of illustration, and asymmetrical instead of centered layouts. (1) Also, because of the influence of the Mondrian movement geometrical and diagonal arrangements can be found Tschicold’s work first he used for everything; from business cards and letter heads to cinema posters. (2)
ReplyDelete(1), (2) http://www.guardian.co.uk/artanddesign/2008/dec/05/jan-tschichold-typography
http://www.moma.org/visit/calendar/exhibitions/1015
Examples of his work:
http://www.creativepro.com/files/story_images/20070319_fg1a.jpg
http://www.burningsettlerscabin.com/wp-content/uploads/2012/12/1433.jpg
The Napoleon image is really neat. I like the use of the red in the O when it collides with the line, and that his name is diagonal.
Delete--Jasmine Berry
I too like the Napoleon example you gave because, Tschichold expressed his designs using symmetry, which can be boring at times but not when you know how to play around with it. If the name Napoleon was not turned at an angle, the design could have been very boring, but with the use of the big O in red and the capitalized Napoleon in blue, with some help of a line bordering the right side of the page, this piece is very simple, yet still complex in its own way.
DeleteJan Tschichold really did help to revolutionize typography through the design principles he utilized. Asymmetrical and geometric arrangements are still widely used in posters and publications today, not to mention how influential sans serif typefaces are in everything today.
DeleteJan Tschichold was the key figure in spreading the movement of new typography. Tschichold was a typographer and book designer and his background helped to set him apart from other designers. As the first son of sign painter and script writer Franz Tschichold, “his father’s profession gave him an early introduction to the many forms of written scripts.” (1) Unlike other designers Tshichold was trained in calligraphy, and many of the ad designs he did between 1921 and 1925 were done in calligraphy form. But after a visit to the first Bauhaus exhibition in Weimar, Tschichold was so impressed this sparked a change in his work, he became a leading advocate of Modernist design and began incorporating Bauhaus elements into his work. (2) Tschichold’s work Elementarey Typographie, was one of his most noted works and acted as a manifesto for of the new typography movement, and acted as a guide for printers and designers. In this work he “explained and demonstrated the concept of asymmetrical typographic layouts,” use of serifless typefaces and simplified layouts. (3) Tschichold was truly an influential designer and considered a master of his field and created the typefaces Transit, Saskia, Zeus and Sabon.
ReplyDeleteThree examples of his work include,
-Die Frau ohne Namen (The Woman Without a Name),
http://www.oswego.edu/~coughlin/NC_417/NC_417_project1/images/image4.gif
-http://www.thenewgraphic.com/2011/06/jan-tschichold-2/ (top poster)
- http://www.oswego.edu/~coughlin/NC_417/NC_417_project1/images/image2.gif
(1)http://www.linotype.com/794-12591/starstudent.html
(2)http://en.wikipedia.org/wiki/Jan_Tschichold
(3)http://www.csun.edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/lecture07/NewTypography.html
The 5th poster in your second link (Die Kameliendame), is also an interesting example of his work, it's very dynamic, and the use of color and overlapping of elements make it look very well designed.
DeleteI think that it is really interesting that someone can be trained in a formal and traditional way like calligraphy and then suddenly change their style to something completely the opposite and write a book about it. His calligraphy work was beautiful and he was clearly a master at it. But his New Typography work is also really nice, everything is asymmetrically balanced and horizontal and vertical using sans serif typefaces. It would have been really cool to see an integration of both the new and the old in his future designs, but he really went back to the traditional ways after being imprisoned by the Nazis.
DeleteI like all of his Sabon family typefaces— they’re really clean, but not too much. I read somewhere that it is a Garamond revival.
Delete-- Jasmine Berry
I think it's really interesting that Tschichold his foundation and basis in typography comes from a background in calligraphy. This was a surprise to find out because he is so well known for his clean sans-serif typography. I really enjoyed getting to learn about his development as a designer and how he moved from one kind of work to another.
DeleteJan Tschichold was born in Leipzig on April 2, 1902, the first son of the script writer Franz Tschichold and his wife Maria. His father’s profession gave him an early introduction to the many forms of written scripts. He often helped his father and learned script writing without ever thinking of this as his future. He wanted to be a fine arts painter but his parents saw this profession as too unstable and did not believe he could earn a living at it. As a compromise he decided to become a drawing teacher. After finishing his schooling the 14-year-old Tschichold started a teaching seminar in Grimma, near Leipzig. The World’s Fair for Books and Graphics in 1914 was an important experience for the young man. In his free time he studied the books of Edward Johnston (Calligraphy, Ornamental Script and Applied Script) and Rudolf von Larisch (Study in Ornamental Writing) and created a number of calligraphic writings. He was already starting to form an interest in old typefaces and one of his manuscripts from this time shows the capitals and lower case of an italic typeface, perhaps Granjon’s italic. He borrowed these only half-finished letters from an old work, probably one from the 17th century. For a 16-year-old beginner, this is quite a remarkable feat. He broke off his teaching studies after three years when he realized that he wanted to be a typeface designer and attended the Academy for Graphic Arts in Leipzig. (1)
ReplyDeleteIn spite of his youth, Tschichold was accepted in the typography class of Professor Hermann Delitsch in Leipzig in the spring of 1919. He also learned engraving, copperplate, woodcutting, wood engraving and book binding. He was Delitsch’s favorite student right from the beginning. The professor often said that there was not anything he could teach that Tschichold did not already know and gave his student free rein. In 1921, when he was just 19, the academy director von Tiemann asked Tschichold to teach an evening class in script writing. Tschichold had become Tiemann’s star student and had a small studio at the academy. (2)
Tschichold started his brilliant career early, and his interest in typography was a very important part of his life. He created a lot of very interesting layouts that stood the test of time.
(1) http://www.linotype.com/794/inhonorofthe100thbirthdayofjantschichold.html
(2) http://www.linotype.com/794-12591/starstudent.html
Images:
(1) http://typographica.org/wp-content/uploads/2010/11/napoleon.png
(2) http://typographica.org/wp-content/uploads/2010/11/laster.png
(3) http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5951&page_number=13&template_id=1&sort_order=1
(4) http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5951&page_number=4&template_id=1&sort_order=1
Its amazing how he used the three-dimensional figure in the example number (2) the way the letters are placed and the movement of the picture works completely for me even though its really dark.
DeleteJan Tschichold was born born in Germany in 1902. Jan Tschicholds skills and talents came early as he was the son of a script writer Franz Tschichold. His father introduced young Tschichold to many forms of written scripts. This artisan background and calligraphic training set him apart from almost all other noted typographers of the time, since they had inevitably trained in architecture or the fine arts. In 1923 Jan Tschichold visited the Bauhaus exhibition in Weimar. He was very much impressed and influenced by the new Bauhaus typography this was a life changing moment in his life and he began to use serif typefaces and designed simplified layouts. In 1925 published “Elementare Typographie”, which explained and demonstrated asymmetrical typography, printers, typesetters and design. Tschichold broke out from traditional ways and demonstrated asymmetrical typography to “express the spirit, life and visual sensibility of the day.” His goal was to create functional, straightforward designs. Favored headlines flush to the left margin, with uneven line lengths. He argued type should be in motion rather than at rest. He believed a kinetic asymmetrical design of contrasting elements expressed the new age of the machine. His role in the New Typography movement wasn't "only" publishing his book, the Elementare Typographie, but also spreading the new style in typography. He was a kind of a "connector" who knew people and was influential enough to create changes in typography style.
ReplyDeletePictures:
1) http://www.google.com/imgres?imgurl=http://typographica.org/wp-content/uploads/2010/11/dieneue.png&imgrefurl=http://typographica.org/typography-books/jan-tschichold-master-typographer/&h=800&w=559&sz=857&tbnid=0Zgx7yYR4aAmxM:&tbnh=94&tbnw=66&zoom=1&usg=__mc3_gAcwIT57n5XAhXPLI0bBqc0=&docid=y5Hxz04ywkG3LM&sa=X&ei=_g8gUayTJeXV0gGUyYDIDw&ved=0CKgBEP4dMA0
2) NAPOLEON https://www.google.com/search?q=jan+tschichold&hl=en&tbo=d&source=lnms&tbm=isch&sa=X&ei=_g8gUayTJeXV0gGUyYDIDw&ved=0CAoQ_AUoAQ&biw=1440&bih=802#imgrc=O1uFpNGaf2kRDM%3A%3BXoKO8S6FtotJfM%3Bhttp%253A%252F%252Fwww.burningsettlerscabin.com%252Fwp-content%252Fuploads%252F2012%252F12%252F1433.jpg%3Bhttp%253A%252F%252Fwww.burningsettlerscabin.com%252F%253Ftag%253Djan-tschichold%3B985%3B1462
3) https://www.google.com/search?q=jan+tschichold&hl=en&tbo=u&tbm=isch&source=univ&sa=X&ei=_g8gUayTJeXV0gGUyYDIDw&ved=0CLUBEIke&biw=1440&bih=802#imgrc=cXmHZ3hTheMKrM%3A%3BQ_PL3PliedsJlM%3Bhttp%253A%252F%252Falbertobarbieri1971.files.wordpress.com%252F2011%252F01%252Fjan_tschichold.jpg%3Bhttp%253A%252F%252Falbertobarbieri1971.wordpress.com%252Flondon-underground%252Fjan-tschichold%252F%3B800%3B583
Sources:
http://typographica.org/typography-books/jan-tschichold-master-typographer/
http://en.wikipedia.org/wiki/Jan_Tschichold
http://www.jan-tschichold.com/
I can definitely see the movement in Tschichold's work. Perhaps it was key that his grid actually set him up for this successful kinetic energy that's beaming from his designs. Like Lissinsky, I guess you can say he was a sort of "connector," perhaps not with some of the right crowd (i.e. the Nazi's believing his work to be "un-german") but I still think he wouldn't have been so successful if it wasn't for all kinds of connections he has made, good or bad.
Delete"The person who applied new approaches to everyday design problems and explained them to a wide audience of printers, typesetters, and designers was Jan Tschichold(1902-1974). The son of a designer and sign painter in Leipzig, Germany, Tschichold developed an early interest in calligraphy, studied at the Leipzig Academy, and joined the design staff on Insel Verlag as a traditional calligrapher. In August 1923, Tschichold attended the first Bauhaus exhibition in Weimar and was deeply impressed. He rapidly assimilated the new design concepts of the Bauhaus and the Russian constructivists into his work and became a practitioner of "die neue Typographie" (the new typography). For the October 1925 issue of "Typograpphische Mitteilungen" (Typographic Impartations), Tschichold designed a twenty-four page insert entitled "Elementare Typographie", which explained and demonstrated asymmetrical typography to printers, typesetters, and designers. It was printed in red and black and featured avant-garde work along with Tschichold's lucid commentary." (1)
ReplyDeleteLaster Der Menschheit- http://typographica.org/wp-content/uploads/2010/11/laster.png
Der Seig- http://typographica.org/wp-content/uploads/2010/11/der-seig.png
Napoleon- http://typographica.org/wp-content/uploads/2010/11/napoleon.png
In all three of these designs Tschichold has an asymmetrical layout which really helps to make the design more dynamic. He also incorporates the color of the image to the text and that helps to create a visual tension for the viewer.
(1) Megg's History of Graphic Design Pages 335-337
I really like Tschichold's bold emphasize of an asymmetrical layout. It definitely shapes a lot of successful designs today. I personally find asymmetry to be much more interesting and playful when trying to find ways to balance what was intentionally thrown off. Tschichold's designs were intended to be straightforward and efficient with it's messages, however, I find his designs to still be simple, but complex as the viewer is forced to to figure out his intentions.
DeleteI like the first example you gave here because of the layout of the page. The way Tschichold used the image and type with the design is very interesting and reminds me of a film being projected on a wall. It works very well and is very powerful.
DeleteI like the second and third one, the second one being the same reason as Kitty's. The eye flows nicely throughout the picture and the space is utilized well throughout the composition. I like the third one because it's straight forward and to the point-no pun intended. If the word "Napoleon" was not turned on its side, it would have made the picture rather boring. The use of simple colors also pays a nice tribute to the layout because again, it is simple and straight forward and explains what it is to any viewer, illiterate or not, without being so complicated.
DeleteHes a pretty great fellow and i would've love to have meet him. Tschichold claimed that he was one of the most powerful influences on 20th century typography. There are few who would attempt to deny that statement. The son of a sign painter and trained in calligraphy, Tschichold began working with typography at a very early age. Raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Blackletter Typography and the Nazis seized much of his work before he was able to flee the country.(1)The 'new typography' was strongly in favour of asymmetry and bold sans serif typefaces. He was condemned by the Nazis for creating unGerman typography and accused of 'Kulturbolschevismus', and was arrested and interned for a while. He took refuge in Switzerland in 1935.
ReplyDeleteexamples
http://lisathatcher.files.wordpress.com/2012/02/gallery-tschichold-the-wo-002.jpg
http://jbatgre.files.wordpress.com/2011/11/casanova.jpg
http://24.media.tumblr.com/tumblr_lw1xptv8Oj1qa3wc5o1_1280.jpg
(1)http://www.linotype.com/794/inhonorofthe100thbirthdayofjantschichold.html
http://www.identifont.com/show?14O
I think it was interesting how the Nazi's played such an important part in his design work. Without them, Tschichold would have stuck to his new way of designing after the Bauhaus. But with the Nazi influence he incorporated both his old form of design as well as new inspired Bauhaus designs together.
DeleteI agree. Even though it was a time of distraught to have to get up and leave his work and home to protect him and his family from the Nazi's, it was good (in the design world) that he left because since he was working in a new environment, he was in a way forced to work on new material such as book cover designs. Using old methods of his designs from Germany, he was able to utilize his talents to create innovative covers for Penguin Books.
DeleteJan Tschichold became familiar with type and signage from an early age through his father who was a sign writer. His parents pushed him to become an illustration teacher for better money and he became one at age 14 for three years. At age 17 he began his typographic studies. He became inspired by the Bauhaus exhibition in 1924. He incorporated the san-serif typefaces into his black scripted lettering as well rigorous composition, straight lines and thick rules. Jan Tschichold wrote “Elementare Typographie” which talked about printers, typesetters and designers.The designs included asymmetry, san serif flushed to the left, vertical and horizontal structure with the use of photography. Typographers and printers used this in all types of printed matters including business cards, brochures, magazines, books and advertisements. (1)
ReplyDeleteExamples
http://www.retinart.net/media/images/jan-tschichold/09.jpg
http://www.retinart.net/media/images/jan-tschichold/11.jpg
http://www.retinart.net/media/images/jan-tschichold/01.jpg
(1) http://www.moma.org/visit/calendar/exhibitions/1015
In all three of your examples you can see first hand Tschichold's symmetrical organization. He also uses geometrical and diagonal arrangements in his designs. The way he lays out the text and uses a typeface that is easy to read and understandable really helps understand why this is just one of the reasons he is so great. He has inspired many with his book "Elementare Typographie" and we keep looking to his work for help and inspiration today.
DeleteAs a student of calligraphy and son of a signwriter, Tschichold was practically bred to participate in an artistic revolution of some sort. The sans-serif aesthetic of the Bauhaus integrated itself in all of Tschichold’s work following the Weimar exhibition. His 1925 “Elementare Typographie” insert marked the dawn of his leadership role in the progression of the new typography, showcasing asymmetrical layout and denouncing the medieval text so prevalently used at the time.
ReplyDeleteNot only were Tschichold’s designs visually pleasing, but also efficiently functional. The adage “form follows function” proved to be fundamental to the new typography aesthetic, thus foundational to the works of Jan Tschichold. In place of usual ornamentation and decoration, Tschichold used horizontal text to sometimes act as borders. Atypical direction of text within Tschichold’s work was common, for “symmetrical organization…placed pure form before the meaning of the words.” (1)
(1) Meggs' History of Graphic Design
∆ http://image.linotype.com/cms/umschlag1_d12592i42.jpg
∆ http://www.oswego.edu/~coughlin/NC_417/NC_417_project1/images/image3.gif
∆ http://4.bp.blogspot.com/-J-W_6cXZ7gk/TXZh7h5d3QI/AAAAAAAAAVA/uZTxN_8hciQ/s1600/JT1008.jpg
Jan Tschichold was one of the most prominent and influential typographers of the twentieth century. He was born in Leipzig, Germany on April 2, 1902. Jan’s father, Franz, was actually a script writer which is what gave Jan his introduction into type. Tschicold was also highly influenced by the Bauhaus Exhibition in Weimar which had a lot of impact on him and his use of sans-serif typefaces. He was not solely a typographer, however. Tschichold also worked as a teacher, author and type designer. He published numerous works such as his more popular Elementaire Typographie and Die Neye Typographie which promoted the new style of clean sans serif type.
ReplyDeletehttp://www.linotype.com/794/inhonorofthe100thbirthdayofjantschichold.html
http://www.adcglobal.org/archive/hof/1979/?id=270
Examples:
Deletehttp://jbatgre.files.wordpress.com/2011/11/casanova.jpg
http://typographica.org/wp-content/uploads/2010/11/der-seig.png
http://www.moma.org/collection/object.php?object_id=6110
Jan Tschichold came from an artisan background and was thoroughly trained in calligraphy. This would explain his aversion to working with handmade papers, and custom fonts unlike many of his fellow typographer colleagues who were quite fond of such methods. Tschichold much preferred to use stock fonts on a careful choice from commercial paper stocks.In 1923, he converted to the Modernist design principles and was a huge advocate for them. Firstly he created n influential 1925 magazine supplement; then a 1927 personal exhibition; then with his most noted work Die neue Typographie. In the book or rather the manifest of modern designs he puts down all typefaces with the exclusion of sans-serif. He also favoured non-centered design, and codified many other Modernist design rules. He advocated the use of standardised paper sizes for all printed matter.
ReplyDeleteTschichold was also the mastermind behind creating a universal alphabet to help tidy up the German alphabet. Typefaces that he is also designed include: Transit, Saskia, Zeus, and Sabon.
Examples:
1) http://rahaddadi.files.wordpress.com/2011/05/jantschichold-filmposter.png
2)http://retinart.net/wp-content/uploads/media/images/jan-tschichold/21.jpg
3) http://4.bp.blogspot.com/-J-W_6cXZ7gk/TXZh7h5d3QI/AAAAAAAAAVA/uZTxN_8hciQ/s1600/JT1008.jpg