Jan Tschichold Essay

New Typography

Tschichold rejected the traditional design principles, where type was arranged into symmetrical columns. His first article, “Elemental Typography” consisted of ornamental features, that took away from the overall style of the font. It followed the principle of everything sitting on a central axis. The “New Typography” included the merging of photography with text, which became modern. Instead, designers arranged the work, keeping it to a minimum, where typography was organised into asymmetrical compositions. This movement was a reaction to the new printing technologies, meaning designers were able to stop using well established typefaces. This gave the designers an innovative approach to a contemporary design, which helped to influence technology and advertising.

Tschichold supported the idea that typography should minimise the distinctive imprints of individual designers, prioritising function over form. This principle is evident in his earlier works, such as the posters created for Phoebus Palast, a cinema situated in Nuremberg, Germany. In accordance with his approach outlined in "Elemental Typography," Tschichold aimed to present the essence of a movie in its most straightforward form. He achieved this by arranging scenes from the film in a linear order, showing a depiction of the sequence of events through images of each scene providing clarity for the storyline. Notably, Tschichold cleverly incorporated lines, reminiscent of a projector display, crafting a stylistic representation akin to a cinema. This deliberate design choice effectively minimised the designer's distinctive touch, emphasising a streamlined and efficient visual communication of the film's narrative.

Tschichold rejected the traditional design principles, where type was arranged into symmetrical columns. His first article, “Elemental Typography” consisted of ornamental features, that took away from the overall style of the font. It followed the principle of everything sitting on a central axis. The “New Typography” included the merging of photography with text, which became modern. Instead, designers arranged the work, keeping it to a minimum, where typography was organised into asymmetrical compositions. This movement was a reaction to the new printing technologies, meaning designers were able to stop using well established typefaces. This gave the designers an innovative approach to a contemporary design, which helped to influence technology and advertising.

Tschichold supported the idea that typography should minimise the distinctive imprints of individual designers, prioritising function over form. This principle is evident in his earlier works, such as the posters created for Phoebus Palast, a cinema situated in Nuremberg, Germany. In accordance with his approach outlined in "Elemental Typography," Tschichold aimed to present the essence of a movie in its most straightforward form. He achieved this by arranging scenes from the film in a linear order, showing a depiction of the sequence of events through images of each scene providing clarity for the storyline. Notably, Tschichold cleverly incorporated lines, reminiscent of a projector display, crafting a stylistic representation akin to a cinema. This deliberate design choice effectively minimised the designer's distinctive touch, emphasising a streamlined and efficient visual communication of the film's narrative.

New Typography

Tschichold rejected the traditional design principles, where type was arranged into symmetrical columns. His first article, “Elemental Typography” consisted of ornamental features, that took away from the overall style of the font. It followed the principle of everything sitting on a central axis. The “New Typography” included the merging of photography with text, which became modern. Instead, designers arranged the work, keeping it to a minimum, where typography was organised into asymmetrical compositions. This movement was a reaction to the new printing technologies, meaning designers were able to stop using well established typefaces. This gave the designers an innovative approach to a contemporary design, which helped to influence technology and advertising.

Tschichold supported the idea that typography should minimise the distinctive imprints of individual designers, prioritising function over form. This principle is evident in his earlier works, such as the posters created for Phoebus Palast, a cinema situated in Nuremberg, Germany. In accordance with his approach outlined in "Elemental Typography," Tschichold aimed to present the essence of a movie in its most straightforward form. He achieved this by arranging scenes from the film in a linear order, showing a depiction of the sequence of events through images of each scene providing clarity for the storyline. Notably, Tschichold cleverly incorporated lines, reminiscent of a projector display, crafting a stylistic representation akin to a cinema. This deliberate design choice effectively minimised the designer's distinctive touch, emphasising a streamlined and efficient visual communication of the film's narrative.

Post-War Standardisation

The rules of standardisation that Tschichold set out was using Sans-Serif typefaces, standard sizes of paper, and guidelines for putting a typography hierarchy in place. This is shown in his designs for the Penguin book covers. His compositions include balance, white space, straight lines and think rules that aided his designs to become harmonising. In posters, followed boxes along the side, to create emphasis. He chose the correct proportions needed for printing.

The Deutsche Industrie-Normen (German Industrial Norms) put certain standards in place for all industries to work in. This created opportunities for creativity within these industries. Tschichold argued that with putting the standardisation in place meant that the designer was able to focus on better design.

Tschichold's’ father originally was a sign painter in Germany, Tschichold took interest at an early age for his father's work, where he gained a passion for it and specialised into typography. He became a teacher at fourteen, teaching for three years, then attending The Academy for Graphics Arts, where he was trained as a typeface designer.

After some time, he visited the Bauhaus, known for the minimalistic design of its’ exhibitions, where he became an activist for minimalism himself, becoming influenced by Constructivists such as: Laszlo Moholy-Nagy. Due to growing up in Germany during Nazi reign, he later moved to Switzerland, the Nazis considered him a threat to society, as he did not follow the rules of only using Blackletter in his work as ruled by the Nazi Regime. It is safe to say they did not agree completely with his designs and were able to take hold of his work before leaving the country. At one stage, Tschichold was sent to a concentration camp, under the guise of being a “cultural Bolshevist” for his Modern style.

Post-War Standardisation

The rules of standardisation that Tschichold set out was using Sans-Serif typefaces, standard sizes of paper, and guidelines for putting a typography hierarchy in place. This is shown in his designs for the Penguin book covers. His compositions include balance, white space, straight lines and think rules that aided his designs to become harmonising. In posters, followed boxes along the side, to create emphasis. He chose the correct proportions needed for printing.

The Deutsche Industrie-Normen (German Industrial Norms) put certain standards in place for all industries to work in. This created opportunities for creativity within these industries. Tschichold argued that with putting the standardisation in place meant that the designer was able to focus on better design.

Tschichold's’ father originally was a sign painter in Germany, Tschichold took interest at an early age for his father's work, where he gained a passion for it and specialised into typography. He became a teacher at fourteen, teaching for three years, then attending The Academy for Graphics Arts, where he was trained as a typeface designer.

After some time, he visited the Bauhaus, known for the minimalistic design of its’ exhibitions, where he became an activist for minimalism himself, becoming influenced by Constructivists such as: Laszlo Moholy-Nagy. Due to growing up in Germany during Nazi reign, he later moved to Switzerland, the Nazis considered him a threat to society, as he did not follow the rules of only using Blackletter in his work as ruled by the Nazi Regime. It is safe to say they did not agree completely with his designs and were able to take hold of his work before leaving the country. At one stage, Tschichold was sent to a concentration camp, under the guise of being a “cultural Bolshevist” for his Modern style.

Red for Drama

Pink for Travel & Adventure

It was the chairperson of Penguin Books, Allan Lane, who approached Tschichold and asked him to work for him. He thought that a book cover should be a clear format, where the design mirrors the content. Included in his covers are geometric shapes and patterns which represent order and balance. Jan was responsible for the development of over 500 Penguin Book covers.

Since he became the Head of Typography and Production, he created the Penguin Composition Rules, which consisted of rules put in place to keep a visually appealing layout. It covered various aspects of book design, including typefaces, margins, and cover design. These rules show how important tight word-spacing, consistent spacing for all punctuation marks and to use indents appropriately in paragraphs.

The reason Penguin Books are so recognisable is because of how Tschichold introduced Grid systems, allowing the format to become standardised and the cover to become more uniform. This enables cost-effective production of the books.

Jan considered the readability of the text by choosing a Sans Serif typeface, Gills Sans, which was designed by Eric Gill. He concentrated on the tracking and kerning of the text, this added to the elegance of the overall design.

He chose eye-catching books instead of bold pictures for his colour-coded volumes. For each cover, the author and title were written in black with a white background. Jan used a horizontal grid with coloured stripes. This system was used to put different genres into categories.

It was the chairperson of Penguin Books, Allan Lane, who approached Tschichold and asked him to work for him. He thought that a book cover should be a clear format, where the design mirrors the content. Included in his covers are geometric shapes and patterns which represent order and balance. Jan was responsible for the development of over 500 Penguin Book covers.

Since he became the Head of Typography and Production, he created the Penguin Composition Rules, which consisted of rules put in place to keep a visually appealing layout. It covered various aspects of book design, including typefaces, margins, and cover design. These rules show how important tight word-spacing, consistent spacing for all punctuation marks and to use indents appropriately in paragraphs.

The reason Penguin Books are so recognisable is because of how Tschichold introduced Grid systems, allowing the format to become standardised and the cover to become more uniform. This enables cost-effective production of the books.

Jan considered the readability of the text by choosing a Sans Serif typeface, Gills Sans, which was designed by Eric Gill. He concentrated on the tracking and kerning of the text, this added to the elegance of the overall design.

He chose eye-catching books instead of bold pictures for his colour-coded volumes. For each cover, the author and title were written in black with a white background. Jan used a horizontal grid with coloured stripes. This system was used to put different genres into categories.

Swiss Style, also known as the International Typographic Style, is a design movement that emerged in Switzerland in the 1950s. One of the key figures associated with the Swiss Style is Jan Tschichold. His influential book "Die Neue Typographie", outlined many of the principles that became foundational to the Swiss Style movement. His teachings and design philosophy have had a lasting impact on graphic design, and Swiss Style remains an important and influential design approach to this day.

Massimo Vignelli, in his creative journey, embraced Tschichold’s principles, incorporating them into his own design philosophy characterised by modernist aesthetics and functional clarity. However, Massimo was a proponent for Helvetica unlike Jan who preferred Sans Serif.

The famous New York City Subway Map, created by Massimo Vignelli in 1972, reflects his design principles rather than being a direct continuation of Tschichold's ideas. The map is known for its bold use of colour, simple and geometric lines, and clear visual hierarchy. It is not just a helpful navigation tool but also a tribute to Tschichold's enduring design legacy. The map is widely recognised and displayed, highlighting how Tschichold's principles continue to impact modern design and are still widely displayed for all to see in a matter where function is greater than form.

In conclusion, Jan Tschichold's profound impact on modern graphic design is evident through his pioneering contributions to the New Typography movement, his application of design principles to practical projects, and his influential role in post-war standardisation efforts. Tschichold's rejection of traditional design principles in favour of asymmetry and sans-serif typefaces marked a pivotal transition in the field, influencing not only the constructivism movement but also shaping the visual identity of Penguin Books through his composition rules and standardised covers. His emphasis on functionality over form and adherence to typography standards further extended to his typeface designs, notably the classic Sabon.

Tschichold's legacy extends beyond his own time, influencing subsequent design movements such as the Swiss Style. This impact is evident in Massimo Vignelli's work, particularly in the famous New York City Subway Map. While Vignelli's design reflects a departure from Tschichold's preference for sans-serif typefaces, it pays homage to the principles of simplicity, clarity, and functionality. The enduring recognition and display of the Subway Map underscore Tschichold's ongoing influence on modern graphic design, where his principles continue to resonate and shape the visual language of contemporary design.

In conclusion, Jan Tschichold's profound impact on modern graphic design is evident through his pioneering contributions to the New Typography movement, his application of design principles to practical projects, and his influential role in post-war standardisation efforts. Tschichold's rejection of traditional design principles in favour of asymmetry and sans-serif typefaces marked a pivotal transition in the field, influencing not only the constructivism movement but also shaping the visual identity of Penguin Books through his composition rules and standardised covers. His emphasis on functionality over form and adherence to typography standards further extended to his typeface designs, notably the classic Sabon.

Tschichold's legacy extends beyond his own time, influencing subsequent design movements such as the Swiss Style. This impact is evident in Massimo Vignelli's work, particularly in the famous New York City Subway Map. While Vignelli's design reflects a departure from Tschichold's preference for sans-serif typefaces, it pays homage to the principles of simplicity, clarity, and functionality. The enduring recognition and display of the Subway Map underscore Tschichold's ongoing influence on modern graphic design, where his principles continue to resonate and shape the visual language of contemporary design.