Jan Tschichold Biography

Page 1

xyWME 7 ri f 9 Q b g S U

5

d

Designer: Edrick D. Agostini Project: Typographer Poster and Process Package Course: Ty p o gra phy I Faculty: Francheska Guerrero

n A T k V8 1 Oj p 2 Wc L 3

z 6


Table Of Contents

x i W M7 yf

g

Page 2: Final visible grid

Q

E3

Page 3: Written paper: Complete Paper

rk

d

Page 4: Paper paragraphs: Flush Left 8 pt. cap height, 9 pt. leading Paper paragraphs: Flush Left 8 pt. cap height, 11 pt. leading

Page 5: Paper paragraphs: Flush Left 8 pt. cap height, 13 pt. leading Paper paragraphs: Flush Left, 8 pt. cap height, 15 pt. leading

Page 6: Paper paragraphs: Flush Left, 8 pt. cap height, 17 pt. leading Paper paragraphs: Flush Left, 8 pt. cap height, 19 pt. leading

Page 7: Paper paragraphs: Flush Left, 9 pt. cap height, 11 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 13 pt. leading

Page 8: Paper paragraphs: Flush Left, 9 pt. cap height, 15 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 17 pt. leading

Page 9: Paper paragraphs: Flush Left, 9 pt. cap height, 19 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 21 pt. leading

Page 10: Paper paragraphs: Flush Left, 9 pt. cap height, 23 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 25 pt. leading

Page 11: Poster design 1: Typographic Mode of Communication 1 and 2 Legibility and Content Hierarchy

Page 12 : Poster design 2:

Typographic Mode of Communication 2 and 3 Content Hierarchy and Expression

Page 13: Poster design 3:

Typographic Mode of Communication 3 Expression

Page 14: Final Poster design


3


Jan Tschichold_ S a b o n Typographers through out the years have stricken the print world with their inventions of typefaces and their philosophies of design. Jan Tschichold, a genius of design and a firm believer of creativity, played an active and valuable role in the typographic world. Tschilchold was born in Leipzig, Germany in 2 April of 1902. He was the son of sign painter and lettering artist. His father’s work and exposure to design propelled Tschichold to become interested in a career as an artist. His dreams were vanished by his parents being that a career as an artist was uncertain (Mclean 7). Tschichold took in consideration his parents concerns regarding pursuing a career in fine arts, so he decided to become a drawing teacher. His fascination and drive in calligraphy and script drove him to study Edward Johnston’s Writing and Illuminating, and Lettering in the translation of Anna Simons, and works by German lettering artist including Rudolph von Larisch (Mclean 7). At age 17, he studied engraving, woodcutting, and bookbinding. His knowledge and skill captured the director of the academy’s attention earning him, at age 19, a position as professor of script writing (“Jan Tschichold,” 2009). His passion of Rudolph Koch fonts and his infatuation with the works Pierre Simon Fournier of German Black Letter ended with the exposure of a Bauhaus exhibition at Weimar in 1923. In this exhibition, he was transformed by the so called “moderns” like Herbert Bayer, Josef Albers, Marcel Breuer, Feininger, Klee, Moholy-Nagy, El Lissitzky, Kurt Schiwitters, Piet Zwart, Man Ray and others. The Bauhaus movement interested Tschichold because the typography was wild, sensational and eye-catching (Mclean 8). Even though the new movement had captured his commitment, his previous knowledge in calligraphy and lettering reminded him of the importance of legibility in communication when using typography. Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14) Consequently, after the end of World War I he was offered to work for Penguin Books in London. He found that the standards of composition were much lower than those in Switzerland. Penguin’s books had become a blessing after the war to civilians and troops. Many printers and authors did not agree with his approach and design, often causing arguments and animosity. In three years, he had done more to improve the British book production than any other single book designer had ever done (McClean 13). In 1949, he returned to Switzerland to work for various German and Swiss publishers. He left his print and design skills in every bookshop in the world being that Penguin was selling fifteen million books a year. Additionally, in 1955 he became a pharmaceutical consultant for the firm of F. Hoffman-La Roche in Basel. His duties were to design their books, labels, advertisements and stationery. Tschichold designed a series of booklets in German, French and English that explained the uses of drugs in the medical field. He utilized photographs and line drawings in several colors to enhance his design. Tschichold decided to move to a small house in Tessin Italian-speaking area of Switzerland above Lorcano in 1968. He consequently died of cancer in 11 August 1974 at the Lorcano Hospital. One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as foundry type by Stempel and in 1966 as a hotmetal type for both Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold’s Sabon drawings have become an invaluable educational and achievement tool in the design world. The typeface is distinguished from Garamond by the equal with of the roman and italics and by the abrupt truncation of the italics f ’s descender. It’s classified as a Serif, Old Style and French Old Style with angled stresses and oblique. Sabon is well known as one of the best Garamond typeface revivals. Sabon was known as a “modern” Garamond, which was a misleading statement to people. Sabon’s design was patterned loosely on specimen sheets of an early Frankfurt printer and type founder, Konrad Berner. Tschichold used Garamond’s calligraphic shapes, softer and more rounded shapes to create Sabon’s versatility and uniqueness. The typeface’s generous lowercase x-height keeps the design reader friendly while maintaining the grace and elegance of the original 16th Century fonts (Fonts, 2011). Jan Tschichold’s outstanding accomplishments have impacted the design world by providing people with well-designed and legible print work and typography. His designs, views, and typography opened up the world to new possibilities and different views. His major accomplishments have been the creation of the typeface Sabon and his contribution to the publishing world.

Works Cited “Sabon - Fonts.com.” Fonts.com. Web. 05 Oct. 2011. <http://www.fonts.com/findfonts/hiddengems/sabon.htm>. Spencer, Herbert. Pioneers of Modern Typography. Cambridge, MA: MIT, 1983. Print. “Jan Tschichold – Typographic Genius | Retinart.” Retinart - Reflections on the Joyous Elegance of Graphic Design and Creative Thought. Web. 05 Oct. 2011. <http://retinart.net/artist-profiles/jan-tschichold/>. McLean, Ruari. Jan Tschichold: a Life in Typography. New York, NY: Princeton Architectural, 1997. Print. “Twenty Faces: Sabon.” Textism. Web. 05 Oct. 2011. <http://www.textism.com/textfaces/?id=19>. “Typedia: Sabon.” Typedia: A Shared Encyclopedia of Typefaces. Web. 05 Oct. 2011. <http://typedia.com/explore/ typeface/sabon/>.

4


Flush Left 8 pt. with 9 pt. leading

Flush Left 8pt. cap height with 11pt leading

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

5


Flush Left 8pt. cap height with 13pt leading

Flush Left 8pt. cap height with 15pt leading

One of his most important accomplishments was the creation of the type-

One of his most important accomplishments was the creation of the type-

face, Sabon. The Master Printers Association of Germany commissioned

face, Sabon. The Master Printers Association of Germany commissioned

him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was

him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils,

released in three formats in 1964 as a foundry type by the Stempel and

Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was

in 1966 as a hot-metal type for both the Monotype and Linotype casting

released in three formats in 1964 as a foundry type by the Stempel and

machines. The digital italics and the hot-metal versions have several

in 1966 as a hot-metal type for both the Monotype and Linotype casting

flaws because of the original limitations of the hot-metal technology (100

machines. The digital italics and the hot-metal versions have several

Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome

flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his

that one regrets that no titling fount was produced…” ( McClean 15).

Twentieth Century Type Designers article, “Sabon is an admirable face,

Copies of Tschichold Sabon drawings have become an invaluable educa-

strong yet restrained… The roman Capitals in particular are so handsome

tional and achievement tool in the design world.

that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-

Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the

tional and achievement tool in the design world.

Furthermore, in 1928 his first book, “Die Neue Typographie”, was

Nazi Government of creating an ‘un-German’ typography forcing him to

published. In his book, he expresses that ‘Asymmetry is the rhythmic

leave German soil to take refuge in Basle, Switzerland. He was allowed

expression of functional design’ and that ‘Roman type is the interna-

to leave with his wife and young son because he was not a Jew. In 1935,

tional typeface of the future’ (Mclean 9). He was later accused by the

his work was introduced to England by participating in an exhibition at

Nazi Government of creating an ‘un-German’ typography forcing him to

Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the

leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935,

same year he addressed members of the Double Crown Club on new ap-

his work was introduced to England by participating in an exhibition at

proaches to typography. Beno Schwabe released his next book, Typog-

Lund Humphries in London propelling him to work in 1938’s volume of

raphische Gestaultung, in 1935. The book was elegant and it focused on

The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s

significant developing ideas in design. He utilized three different typefaces

well-illustrated article in his magazine “Typography”. Later during the

and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour

same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on

Printing book and later on published Chinese Colour Prints from the Ten

significant developing ideas in design. He utilized three different typefaces

Bamboo Studio (Mcclean 14)

and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

6


Flush Left 8pt. cap height with 17pt leading

Flush Left 8pt. cap height with 19pt leading

One of his most important accomplishments was the creation of the type-

One of his most important accomplishments was the creation of the type-

face, Sabon. The Master Printers Association of Germany commissioned

face, Sabon. The Master Printers Association of Germany commissioned

him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting

him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and

machines. The digital italics and the hot-metal versions have several

in 1966 as a hot-metal type for both the Monotype and Linotype casting

flaws because of the original limitations of the hot-metal technology (100

machines. The digital italics and the hot-metal versions have several

Types). The typeface was highly praised. Sebastian Carter stated in his

flaws because of the original limitations of the hot-metal technology (100

Twentieth Century Type Designers article, “Sabon is an admirable face,

Types). The typeface was highly praised. Sebastian Carter stated in his

strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-

Furthermore, in 1928 his first book, “Die Neue Typographie”, was

tional and achievement tool in the design world.

published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the interna-

Furthermore, in 1928 his first book, “Die Neue Typographie”, was

tional typeface of the future’ (Mclean 9). He was later accused by the

published. In his book, he expresses that ‘Asymmetry is the rhythmic

Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s

expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935,

well-illustrated article in his magazine “Typography”. Later during the

his work was introduced to England by participating in an exhibition at

same year he addressed members of the Double Crown Club on new ap-

Lund Humphries in London propelling him to work in 1938’s volume of

proaches to typography. Beno Schwabe released his next book, Typog-

The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s

raphische Gestaultung, in 1935. The book was elegant and it focused on

well-illustrated article in his magazine “Typography”. Later during the

significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour

same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces

Printing book and later on published Chinese Colour Prints from the Ten

and well leaded. His book was later translated into Danish, Swedish and

Bamboo Studio (Mcclean 14)

Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

7


Flush Left 9pt. cap height with 11pt leading

Flush Left 9pt. cap height with 13pt leading

One of his most important accomplishments was the creation of

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume

Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

8


Flush Left 9pt. cap height with 15pt leading

Flush Left 9pt. cap height with 17pt leading

One of his most important accomplishments was the creation of

One of his most important accomplishments was the creation of

the typeface, Sabon. The Master Printers Association of Germany

the typeface, Sabon. The Master Printers Association of Germany

commissioned him to create a typeface that matched cast foundry

commissioned him to create a typeface that matched cast foundry

type for hand setting, with output from machine composition,

type for hand setting, with output from machine composition,

across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in

across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released

1966 as a hot-metal type for both the Monotype and Linotype

in three formats in 1964 as a foundry type by the Stempel and in

casting machines. The digital italics and the hot-metal versions

1966 as a hot-metal type for both the Monotype and Linotype

have several flaws because of the original limitations of the hot-

casting machines. The digital italics and the hot-metal versions

metal technology (100 Types). The typeface was highly praised.

have several flaws because of the original limitations of the hot-

Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of

metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The

Tschichold Sabon drawings have become an invaluable educa-

roman Capitals in particular are so handsome that one regrets

tional and achievement tool in the design world.

that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-

Furthermore, in 1928 his first book, “Die Neue Typographie”,

tional and achievement tool in the design world.

was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in

Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type

Basle, Switzerland. He was allowed to leave with his wife and

is the international typeface of the future’ (Mclean 9). He was

young son because he was not a Jew. In 1935, his work was

later accused by the Nazi Government of creating an ‘un-German’

introduced to England by participating in an exhibition at Lund

typography forcing him to leave German soil to take refuge in

Humphries in London propelling him to work in 1938’s volume

Basle, Switzerland. He was allowed to leave with his wife and

of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno

young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume

Schwabe released his next book, Typographische Gestaultung, in

of The Penrose Annual (Spencer 151). Robert Harling published

1935. The book was elegant and it focused on significant develop-

Tschichold’s well-illustrated article in his magazine “Typogra-

ing ideas in design. He utilized three different typefaces and well

phy”. Later during the same year he addressed members of the

leaded. His book was later translated into Danish, Swedish and

Double Crown Club on new approaches to typography. Beno

Dutch, but not in English until 1967. His obsession with calligra-

Schwabe released his next book, Typographische Gestaultung, in

phy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

9


Flush Left 9pt. cap height with 19pt leading

Flush Left 9pt. cap height with 21pt leading

One of his most important accomplishments was the creation of

One of his most important accomplishments was the creation of

the typeface, Sabon. The Master Printers Association of Germany

the typeface, Sabon. The Master Printers Association of Germany

commissioned him to create a typeface that matched cast foundry

commissioned him to create a typeface that matched cast foundry

type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype

type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in

casting machines. The digital italics and the hot-metal versions

1966 as a hot-metal type for both the Monotype and Linotype

have several flaws because of the original limitations of the hot-

casting machines. The digital italics and the hot-metal versions

metal technology (100 Types). The typeface was highly praised.

have several flaws because of the original limitations of the hot-

Sebastian Carter stated in his Twentieth Century Type Designers

metal technology (100 Types). The typeface was highly praised.

article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-

Furthermore, in 1928 his first book, “Die Neue Typographie”,

tional and achievement tool in the design world.

was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type

Furthermore, in 1928 his first book, “Die Neue Typographie”,

is the international typeface of the future’ (Mclean 9). He was

was published. In his book, he expresses that ‘Asymmetry is the

later accused by the Nazi Government of creating an ‘un-German’

rhythmic expression of functional design’ and that ‘Roman type

typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published

is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was

Tschichold’s well-illustrated article in his magazine “Typogra-

introduced to England by participating in an exhibition at Lund

phy”. Later during the same year he addressed members of the

Humphries in London propelling him to work in 1938’s volume

Double Crown Club on new approaches to typography. Beno

of The Penrose Annual (Spencer 151). Robert Harling published

Schwabe released his next book, Typographische Gestaultung, in

Tschichold’s well-illustrated article in his magazine “Typogra-

1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The

phy”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well

Early Chinese Colour Printing book and later on published Chi-

leaded. His book was later translated into Danish, Swedish and

nese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

10


Flush Left 9pt. cap height with 25pt leading Flush Left 9pt. cap height with 23pt leading

One of his most important accomplishments was the creation of

One of his most important accomplishments was the creation of

the typeface, Sabon. The Master Printers Association of Germany

the typeface, Sabon. The Master Printers Association of Germany

commissioned him to create a typeface that matched cast foundry

commissioned him to create a typeface that matched cast foundry

type for hand setting, with output from machine composition,

type for hand setting, with output from machine composition,

across both Monotype and Linotype systems (Monotype Imag-

across both Monotype and Linotype systems (Monotype Imag-

ing). Its name came from one of his pupils, Jacob Sabon, who

ing). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in

took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype

1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers

have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers

article, “Sabon is an admirable face, strong yet restrained… The

article, “Sabon is an admirable face, strong yet restrained… The

roman Capitals in particular are so handsome that one regrets

roman Capitals in particular are so handsome that one regrets

that no titling fount was produced…” ( McClean 15). Copies of

that no titling fount was produced…” ( McClean 15). Copies of

Tschichold Sabon drawings have become an invaluable educa-

Tschichold Sabon drawings have become an invaluable educa-

tional and achievement tool in the design world.

Furthermore, in 1928 his first book, “Die Neue Typographie”,

tional and achievement tool in the design world.

Furthermore, in 1928 his first book, “Die Neue Typographie”,

was published. In his book, he expresses that ‘Asymmetry is the was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in

rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’

Basle, Switzerland. He was allowed to leave with his wife and

typography forcing him to leave German soil to take refuge in

young son because he was not a Jew. In 1935, his work was

Basle, Switzerland. He was allowed to leave with his wife and

introduced to England by participating in an exhibition at Lund

young son because he was not a Jew. In 1935, his work was

Humphries in London propelling him to work in 1938’s volume

introduced to England by participating in an exhibition at Lund

of The Penrose Annual (Spencer 151). Robert Harling published

Humphries in London propelling him to work in 1938’s volume

Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno

of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the

Schwabe released his next book, Typographische Gestaultung, in Double Crown Club on new approaches to typography. Beno 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligra-

Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well

phy and printing sparked his interest in the Japanese and specially

leaded. His book was later translated into Danish, Swedish and

Chinese Calligraphy and printing. He published in 1940’s The

Dutch, but not in English until 1967. His obsession with calligra-

Early Chinese Colour Printing book and later on published Chi-

phy and printing sparked his interest in the Japanese and specially

nese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)

11


A a B b C c D d E e F f Gg HhIiJjKkLlMmNn O o P p Q q R r S s T t Uu V v WwXx YyZ z123 4567890 `~!@#$ %^&*()/

Sabon

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. The

_+{}|:”.

digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century

<>?-=;’,

“Sabon is an admirable face, strong yet restrained… The roman Capitals in parType Designers article,

ticular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have be-

Jan

come an invaluable educational and achievement tool in the design world.

Tschichold Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that

“Asymmetry is the rhythmic expression of functional design”and that

“Roman type is the international typeface of the future” (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-Germantypography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14).

12


: ^ ?< ;

“‘

`

~,

!:

() > & = *

#

y

_

.

@

+

jan tschichold

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article,

“Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world .

Sabon AaBbCcDdEeFf GgHhIiJjKkLl MmNnOoPpQq RrSsTtUuVv WwXxYyZz

1 2 3 4 5 6 7 8 9 0 ` ~ ! @ # $ % ^ & * ( ) _ + { } | : ” < > ? - = ; ’ , . / Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s voume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and

Jan

well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14).


^

&?=

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came

from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article,

“Sabon is an admirable face, strong yet r e s t r a i n e d … The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become

GgHhIiJjKkLl MmNnOoPpQq

~ `

RrSsTtUuVv WwXxYyZz

1

4

6 7

< _ *; ~ “ :

“Assymetry is the rhythmic expression of functional design”

1

59 2

@

#

SABON

0

7

`

.+ y # $ , @ !

an invaluable educational and achievement tool in the design world.

AaBbCcDdEeFf

! > ‘ ()

8

3

jan

tschichold 14


A a B b C c D d E e F f Gg HhIiJjKkLlMmNn O o P p Q q R r S s T t Uu V v WwXx YyZ z123 4567890 `~!@#$ %^&*()/

Sabon

One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. The

_+{}|:”.

digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century

<>?-=;’,

“Sabon is an admirable face, strong yet restrained… The roman Capitals in parType Designers article,

ticular are so handsome that one regrets that no titling fount was pro-

Jan

duced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.

Tschichold Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that

“Asymmetry is the rhythmic expression of functional design”and that

“Roman type is the international typeface of the future” (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-Germantypography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14).

15


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.