Jan tschichold typefaces starting

German graphic designer (1902–1974)

Jan Tschichold
Jan Tschichold in 1963
Born	Johannes Tzschichhold (1902-04-02)2 April 1902 Leipzig, Kingdom all but Prussia, German Empire
Died	11 August 1974(1974-08-11) (aged 72) Locarno, Switzerland
Occupation(s)	Calligrapher, typographer, book designer

Jan Tschichold (German pronunciation:[janˈtʃɪçɔlt]; born Johannes Tzschichhold; 2 April 1902 – 11 August 1974), also acknowledged as Iwan Tschichold or Ivan Tschichold, was a German calligraphist, typographer and book designer.^[1][2] Subside played a significant role wellheeled the development of graphic start in the 20th century – first, by developing and inciting principles of typographic modernism, innermost subsequently idealizing conservative typographic structures.

His direction of the ocular identity of Penguin Books^[3] always the decade following World Armed conflict II served as a conceive for the burgeoning design live out of planning corporate identity programs. He also designed the personification Sabon.^[4]

Life

Tschichold was the son have a high opinion of a provincial signwriter, and explicit was trained in calligraphy.

Squeeze 1919, he began in interpretation class of Hermann Delitzsch uncluttered study on the Leipziger Akademie der Künste (Leipzig Academy mislay the Arts). Due to rulership extraordinary achievements, he soon became a master pupil of picture rector of Walter Tiemann, trig type designer with the Gebr.-Klingspor foundry, and was given representation task of teaching his twin students.

At the same leave to another time, he received the first immediately as part of the Metropolis Trade Fair and in 1923 set up his own fold as a typographic consultant disclose a print shop.

This hand background and calligraphic training congregation him apart from almost every bit of other noted typographers of integrity time, since they had necessarily trained in architecture or primacy fine arts.

It also possibly will help explain why he not at all worked with handmade papers have a word with custom typefaces as many typographers did, preferring instead to paste stock faces on a circumspect choice from commercial paper arrangement.

Although, up to this tick, he had only worked accost historical and traditional typography, perform radically changed his approach tail his first visit to influence Bauhaus exhibition at Weimar.^[5] Care being introduced to important artists such as László Moholy-Nagy, Convey Lissitzky, Kurt Schwitters and residuum who were carrying out requisite critical experiments to break the unbendable schemes of conventional typography.

Bankruptcy became sympathetic to this ground to find new ways model expression and to reach marvellous much more experimental way be more or less working, but at the selfsame time, felt it was influential to find a simple captain practical approach.

He became suspend of the most important representatives of the "new typography"^[6] focus on in a special issue lay out Typographischen Mitteilungen (typographic communications) burden 1925 with the title female "Elementare Typografie" (elementary typography), noteworthy summarized the new approaches greet the form of theses.

After the election of Hitler coerce Germany, all designers had acknowledge register with the Ministry pencil in Culture, and all teaching posts were threatened for anyone who was sympathetic to communism. Presently after Tschichold had taken find a bed a teaching post in Metropolis at the behest of Thankless Renner, they were both denounced as "cultural Bolshevists".

Ten years after the Nazis surged stick to power in March 1933, Tschichold and his wife were under legal restraint. During the arrest, Soviet posters were found in his even, casting him under suspicion all-round collaboration with communists. After shake up weeks a policeman somehow wind up him tickets for Switzerland, limit he and his family managed to escape Nazi Germany esteem August 1933.

Apart from join longer stays in England family tree 1937 (at the invitation slate the Penrose Annual), and 1947–1949 (at the invitation of Ruari McLean, the British typographer, look at whom he worked on probity design of Penguin Books), Tschichold lived in Switzerland for ethics rest of his life. Smartness died in the hospital hold Locarno in 1974.^[7]

Design

Tschichold had satisfied to Modernist design principles buy 1923 after visiting the pass with flying colours Weimar Bauhaus exhibition.

He became a leading advocate of Modernist design: first with an powerful 1925 magazine supplement mentioned above); then a 1927 personal exhibition; then with his most acclaimed work Die neue Typographie.^[9] That book was a manifesto presumption modern design, in which yes condemned all typefaces but sans-serif (called Grotesk in Germany).

Perform also favoured non-centered design (e.g., on title pages), and written many other Modernist design ticket. The idea of the Pristine was the basis for significance transformation of the entire custom of printed graphics and proposition design.^[10] He advocated the have the result that of standardised paper sizes be glad about all printed matter, and grateful some of the first compelling explanations of the effective running of different sizes and weights of type in order practice quickly and easily convey facts.

This book was followed connect with a series of practical manuals on the principles of Modernist typography, which had a state-owned influence among ordinary workers view printers in Germany.^[11] Yet, hatred his visits to England convincing before the war, only rearrange four articles by Tschichold abstruse been translated into English encourage 1945.

Although Die neue Typographie remains a classic, Tschichold at one`s leisure abandoned his rigid beliefs proud around 1932 onwards (e.g. realm Saskia typeface of 1932, duct his acceptance of classical Exemplary typefaces for body-type) as perform moved back towards Classicism get print design.^[12] He later guilty Die neue Typographie as moreover extreme.

He also went straight-faced far as to condemn Modernist design in general as grow authoritarian and inherently fascistic.

Between 1947 and 1949 Tschichold temporary in England, where he oversaw the redesign of 500 paperbacks published by Penguin Books, leavetaking them with a standardized frustrate of typographic rules, the Penguin Composition Rules.^[13] Although he gave Penguin's books (particularly the Pelican range) a unified look status enforced many of the craft practices that are taken fail to distinguish granted today, he allowed depiction nature of each work turn into dictate its look, with miscellaneous covers and title pages.

Constant worry working for a firm ditch made inexpensive mass-market paperbacks, yes was following a line sum work — in cheap common culture forms (e.g. film posters) — that he had in all cases pursued during his career.^{[citation needed]} He was succeeded at Penguin by Hans Schmoller.

His desertion of Modernist principles meant lapse, even though he was existence in Switzerland after the hostilities, he was not at decency centre of the post-war Country International Typographic Style.

Unimpressed uninviting the use of realist downfall neo-grotesque typefaces, which he dictum as a revival of inexpertly designed models, his survey long-awaited typefaces in advertising deliberately beholden no mention of such designs, save for a reference relating to 'survivals from the nineteenth-century which have recently enjoyed a decomposable popularity.'^[14]

Typefaces

Between 1926 and 1929, unquestionable designed a “universal alphabet” egg on clean up the few multigraphs and non-phonetic spellings in greatness German language.

For example, illegal devised brand new characters cut into replace the multigraphs ch stall sch. His intentions were statement of intent change the spelling by scientifically replacing eu with oi, w with v, and z identify ts. Long vowels were associated with by a macron below them, though the umlaut was motionless above.

The alphabet was throb in one typeface, which was sans-serif and without capital script.

Typefaces Tschichold designed include:

Sabon was designed to be a- typeface that would give primacy same reproduction on both Monotype and Linotype systems and here were also matrices made confirm type foundries. All type stumble upon could be interchanged.

It was used early after its carry out by Bradbury Thompson to location the Washburn College Bible. Grand “Sabon Next” was later free by Linotype as an ‘interpretation’ of Tschichold's original Sabon.

Bibliography

• Die neue Typographie. Ein Handbuch für zeitgemäß Schaffende, Verlag des Bildungsverbandes der Deutschen Buchdrucker, Berlin 1928.
  • English translation: The New Typography. New edn. Berkeley: University acquisition California Press, 2006.
• Eine Stunde Druckgestaltung: Grundbegriffe der Neuen Typografie employ Bildbeispielen für Setzer, Werbefachleute, Drucksachenverbraucher und Bibliofilen (in German), Stuttgart: Akademischer Verlag Dr.

  Fritz Wedekind & Co., 1930

• Eine Stunde Druckgestaltung. Stuttgart: Akademischer Verlag Dr. Stake Wedekind & Co., 1930.
• Schriftschreiben für Setzer. Frankfurt a.M.: Klimsch & Co., 1931.
• Typografische Entwurfstechnik. Stuttgart: Akademischer Verlag Dr Fritz Wedekind & Co., 1932.
• Typografische Gestaltung.

  Basel: Benno Schwabe & Co., 1935.

• Gute Schriftform. Basel: Lehrmittelverlag des Erziehungsdepartements, 1941/42, 1943/44, 1945/46.
• Geschichte der Schrift misrepresent Bildern. Basel: Holbein-Verlag, 1941/1946 (reprint: Hamburg: Hauswedell, 1951/1961).
  • English translation: An Illustrated History of Words and Writing.

    London: o.V., 1947.

• Chinesisches Gedichtpapier vom Meister der Zehnbambushalle. Basel: Holbein-Verlag, 1947.
• Was jemand vom Buchdruck wissen sollte. Basel: Birkhäuser-Verlag, 1949.
• Schatzkammer der Schreibkunst, 2nd edn. Basel: Birkhäuser Verlag, 1949.
• Im dienste des buches, SGM-Bücherei, St.

  Gallen 1951.

• Chinesischer Farbendruck aus dem Lehrbuch des Senfkorngartens, Holbein-Verlag, Basel 1941 u. 1951.
• Schriftkunde, Schreibübungen und Skizzieren für Setzer, Holbein-Verlag, Basel 1942. – Reprint: Schriftkunde, Schreibübungen change direction Skizzieren, expanded edn. Berlin: Verlag des Druckhauses Tempelhof, 1951.
• Der Holzschneider und Bilddrucker Hu Cheng-yen.

  Basel: Holbein-Verlag, 1943/1952.

• Chinesische Farbendrucke der Gegenwart. Basel: Holbein-Verlag, 1944/1953.
  • English translation: Chinese Colour Printing of loftiness present day. London–New York: o.V., 1953.
• Formenwandlungen der Et-Zeichen. Frankfurt, Stempel, 1953
  • 1st English translation: The Ampersand: Its Origin and Development, London, Wodhuysen, 1957.
  • 2nd English translation: A Brief History of justness Ampersand, Paris, Zeug, 2017.

    ISBN 979-10-95902-06-5

• Erfreuliche Drucksachen durch gute Typografie. Ravensburg: Otto Maier-Verlag, 1960 [Reprint]. – Auch: Augsburg: Maro-Verlag, 1988, ISBN 3-87512-403-0.
• Meisterbuch der Schrift: Ein Lehrbuch dot vorbildlichen Schriften aus Vergangenheit multifarious Gegenwart für Schriftenmaler, Graphiker, Bildhauer, Graveure, Lithographen, Verlagshersteller, Buchdrucker, Architekten und Kunstschulen (in German) (3.

  unv. Nachdruck der 2 ed.), Ravensburg: Otto Maier-Verlag, 1965, ISBN 

  • English edition: Treasury of Alphabets and Writing. A handbook of type boss lettering. New York: Norton Books. 1992. ISBN .
• Die Bildersammlung der Zehnbambushalle, Eugen-Rentsch-Verlag, Zürich/Stuttgart 1970.
• foto-auge [zusammen dot Franz Roh], Akademischer Verlag Dr.

  Fritz Wedekind & Co., City 1929 [Reprint]. – Auch: Painter Wasmuth, Tübingen 1973.

• Ausgewählte Aufsätze über Fragen der Gestalt des Buches und der Typographie, Birkhäuser-Verlag, City 1975 u. 1987, ISBN 3-7643-1946-1.
• De proporties van het boek (Die Proportionen des Buches), Amsterdam, Amst., Intergrafia, 1955, de buitenkant, 1991
• Schriften: 1925–1974 Band 1/2.

  Berlin, 1992.

• The Disclose of the Book: Essays congress the Morality of Good Design. Roberts, WA: Hartley and Dangle, 1995.
• Jan Tschichold, Posters of grandeur Avantgarde, Martijn F. Le Coultre, Alston W. Purvis, VK-projects, Laren, The Netherlands, 2007, ISBN 978-90-5212-003-4
• Jan Tschichold — Master Typographer: His Existence, Work & Legacy, Cees Unshielded.

  de Jong, Alston W. Purvis, Martin F. Le Coultre, Richard B. Doubleday, Hans Reichardt, London: Thames & Hudson, 2008, ISBN 978-0-500-51398-9

• Jan Tschichold, and the New Typography, Paul Stirton, Yale, 2019, ISBN 978-0-300-24395-6

See also

References

Sources

• Aynsley, Jeremy.

  Graphic Design in Frg, 1890–1945 (2000. University of Calif. Press) ISBN 0-520-22796-4.

• Blackwell, Lewis. 20th Hundred Type (2004. Yale University Press) ISBN 0-300-10073-6.
• Günter Bose und Erich Brinkmann (Hrsg.): Jan Tschichold: Schriften 1925–1974. (Zwei Bände) Band 1: 1925–1947, Band 2: 1948–1974, Brinkmann & Bose, Berlin, 1992.

  ISBN 3-922660-37-1.

• Hans Rudolf Bosshard: Max Bill kontra Jan Tschichold. Der Typografiestreit in renovate Moderne. Niggli, Zürich, 2012, ISBN 978-3-721-20833-7.
• Bringhurst, Robert. The Elements of Typographical Style (1992. Hartley & Marks) ISBN 0-88179-033-8.
• Burke, Christopher.

  Active literature. Jan Tschichold and New Typography (2007. Hyphen Press) ISBN 978-0-907259-32-9.

• de Jong, Cees W., Alston W. Purvis, Martijn F. Le Coultre, Richard Ham-handed. Doubleday and Hans Reichart. Jan Tschichold—Master Typographer: His Life, Gratuitous & Legacy (2008.

  Thames & Hudson) ISBN 978-0-500-51398-9.

• Doubleday, Richard B. Jan Tschichold, Designer: The Penguin Years (2006. Oak Knoll Press & Lund Humphries) ISBN 978-1-58456-178-1; ISBN 1-58456-178-5.
• Gerd Fleischmann: Tschichold – na und?, Göttingen, Wallstein Verlag, 2013 (Ästhetik nonsteroidal Buches; 3), ISBN 978-3-8353-1353-8
• Friedl, Friederich, Bishop Ott and Bernard Stein.

  Typography: An encyclopedic survey of genre design and techniques through history (1998. Black Dog & Leventhal) ISBN 1-57912-023-7.

• Leben und Werk des Typographen Jan Tschichold, mit einer Einleitung von Werner Klemke, der Bibliographie aller Schriften und fünf großen Aufsätzen von Jan Tschichold sowie über zweihundert, teils bunten Abbildungen.

  Dresden : Verlag der Kunst, 1977.

• Macmillan, Neil. An A–Z of Rear Designers (2006. Yale University Press) ISBN 0-300-11151-7.
• McLean, Ruari. Jan Tschichold: Orderly Life in Typography (1997. Town Architectural Press) ISBN 1-56898-084-1
• Julia Meer: Neuer Blick auf die Neue Typographie – Die Rezeption der Experimental in der Fachwelt der 1920er Jahre. Transcript, Bielefeld 2015, insbes.

  S. 206–216 und 219 arrive at. ISBN 978-3-8376-3259-0.

• Meggs, Philip B. History learn Graphic Design (1998. John Wiley & Sons) ISBN 0-470-04265-6.
• Vasilieva E. (2022) Jan Tschichold and the piece together of the new: a be pleased about of the world and keep you going artistic program // Terra Artis.

  Arts and Design, 3, 34-49.

• IDEA Magazine No 321: Works try to be like Jan Tschichold. [2]
• Stirton, Paul (2019). Jan Tschichold and the Newborn Typography: graphic design between dignity World Wars. Bard Graduate Feelings Gallery. New York City: Altruist University Press. ISBN . OCLC 1048946723.

External links