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Die Neue Typographie: as a failed theory_

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Contents

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Overview

Context

Setup

Support

Troubleshooting

Update

Compatibility

Specifications

Die Neue Typographie: as a failed theory_

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_Compatibility

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_Specifications

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Overview

This exhibition should give a good insight into the history and principles of Die Neue Typographie, a typographic style that became prominent during the modernist era of the nineteenth century. Although these ideals were

considered ground-breaking at the time of their inception,

it soon became apparent that the ideology of a one size

fits all solutionâ&#x20AC;&#x201D;present in the modernist movement and

Die Neue Typographie alikeâ&#x20AC;&#x201D;was flawed. The errors

of this strict and dogmatic system were highlighted by

its main protagonist Jan Tschichold, only seven years

after his publication of Die Neue Typographie in 1928, the author no longer supported his original ideals.

The failure of Die Neue Typographie is emphasized

throughout this exhibition by the means of juxtaposition, pieces of Die Neue Typographie are displayed in their

original format, This is an attempt to specify how the

New Wave, or Swiss Punk style of the late 1970s began.

Typographic layouts from the New typography have also been digitally glitched and placed alongside New Wave

typography pieces, in order to emphasize how Wolfgang

Weingart, Founding Father of the renowned Swiss Punk style, broke numerous typographic rules in order to develop a unique and influential graphic language.

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Die Neue Typographie: as a failed theory_

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Die Neue Typographie: as a failed theory_

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Die Neue Typographie: as a failed theory_

“Good taste and perfect typography are suprapersonal. Today, good taste is often erroneously rejected as old-fashioned because the ordinary man, seeking approval of his so-called personality, prefers to follow the dictates of his own peculiar style rather than submit to any objective criterion of taste.” —Jan Tschichold, 1948

Published in Ausgewählte über Fragen der Gestalt des Buches und der Typographie, 1975.

“I myself got fairly disappointed with modernism in general, it simply became boring. If I see a brochure now with lots of whitespace, that has six lines of Helvetica up on the top, and a little abstract logo on the bottom, and a picture of a business man walking somewhere. The overall communication that says to me is—do not read me, because I will bore the shit out of you. Not just visually but also in content, because the content will most likely say the same, as it says to me visually” —Stefan Sagmeister, 2007

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Context Context

Typography can be described simply as communication Typography can be described simply as communication through text. The Oxford English Dictionary describes through text. The Oxford English Dictionary describes communication as: communication as:

“The imparting or exchanging of information by speaking, writing, or using some other medium:”

Typography is imparting information through text Typography is imparting information through text specifically and in the past took the strict form of printed specifically and in the past took the strict form of printed ink on paper, with the technological developments of ink on paper, with the technological developments of the last century, typography can now be seen in other the last century, typography can now be seen in other formats, such as on television and computer screens. formats, such as on television and computer screens. Typography gives visual form to an idea, the decisions Typography gives visual form to an idea, the decisions made regarding this visual form can dramatically affect the made regarding this visual form can dramatically affect the readability of the idea, and directly influence the readers readability of the, idea and directly influence the readers feelings towards the message it presents. Typography is feelings towards the message it presents. Typography is one of the likely elements within a design that will evoke one of the likely elements within a design that will evoke an emotional reaction from the viewer, it can be quite an emotional reaction from the viewer, it can be quite neutral but by contrast can also cause a more dramatic neutral but by contrast can also cause a more dramatic reaction. Typography can symbolise artistic, political or reaction. Typography can symbolise artistic, political or philosophical movements, or could express the personality philosophical movements, or could express the personality of an individual or organisation. of an individual or organization.

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Die Neue Typographie: as a failed theory_ Die Neue Typographie: as a failed theory_

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Typographische Monatsbl채tter issue 12, 1976, Wolfgang Weingart_

[Is this typography worth supporting, or do we live on the moon?]

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Setup

Tschichold was inspired after visiting the first Bauhaus

exhibition in August 1923, after beholding the progressive

approach to typography at Bauhaus, Tschichold renounced his former works—which had implemented traditional

arrangements of classical type, set in symmetrical columns—He converted to modernism and began

publishing works promoting his typographical theories.

Five years later in his first book Die Neue Typographie,

Tschichold set forth rules for standardization of practices relating to modern typographic conventions. Within his

dogmatic text, Tschichold refined, codified and articulated

the design concepts of the already established New

Typography—which condemned all typefaces except for the sans-serif, encouraged the abandonment of capital letters

and type being set strictly flush left, rejected symmetry, advocated standardized sizes of paper and indicated

guidelines towards establishing a typographic hierarchy

when implementing type in design. Tschichold disparaged

what he deemed archaic and “degenerate” typefaces and what deemed archaic and “degenerate” typefaces and what he deemed archaic and “degenerate” typefaces and what hehe deemed archaic and “degenerate” typefaces and

stated that type should be reduced to its elemental forms stated that type should reduced elemental forms stated that type should be reduced to its elemental forms stated that type should bebe reduced toto itsits elemental forms

in controlled variations of weight. Tschichold stressed controlled variations weight. Tschichold stressed in controlled variations of weight. Tschichold stressed inin controlled variations ofof weight. Tschichold stressed

aa functional and simple approach, he maintained that afunctional and simple approach, maintained that a functional functional and simple approach, he maintained that and simple approach, hehe maintained that

the objective of New Typography should be clarity in the objective New Typography should clarity the objective of New Typography should be clarity in the objective ofof New Typography should bebe clarity inin communication, with form derived from functional communication, with form derived from functional communication, with form derived from functional communication, with form derived from functional

needs, and information delivered in the most direct and needs, and information delivered the most direct and needs, and information delivered in the most direct and needs, and information delivered inin the most direct and effective way possible. This was achieved through the effective way possible. This was achieved through the effective way possible. This was achieved through the effective way possible. This was achieved through the

implementation of grid systems, with spatial intervals and implementation grid systems, with spatial intervals and implementation of grid systems, with spatial intervals and implementation ofof grid systems, with spatial intervals and empty space employed as design elements. empty space employed design elements. empty space employed as design elements. empty space employed asas design elements.

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Die Neue Typographie: as a failed theory_

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what he deemed archaic and â&#x20AC;&#x153;degenerateâ&#x20AC;? typefaces and

stated that type should be reduced to its elemental forms

in controlled variations of weight. Tschichold stressed

a functional and simple approach, he maintained that

the objective of New Typography should be clarity in communication, with form derived from functional

needs, and information delivered in the most direct and effective way possible. This was achieved through the

implementation of grid systems, with spatial intervals

and empty space employed as design elements.

Bauhaus Subscription Brochu 1923, Laszlo Moholy-Nagy_

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â&#x20AC;&#x153;Perfect typogr most elusive o in stone alone in obstinacyâ&#x20AC;?

raphy is certainly the of all arts. Sculpture e comes near it ” —Jan Tschichold

Die Neue Typographie

ure,

Elementare Typographie, 1925, Jan Tschichold_

e: as a failed theory_

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“But it must be laid down that sans serif is absolutely and always better. I am aware that to lay down the law like this will offend the romantic predilections of a large part of the printing trade and the public for the old ‘decorative’ faces.” —Jan Tschichold, 1928

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“In theit “But lightmust of mybe present laidknowledge, down that it wassans a juvenile to consider the serif asbetter. the most serif opinion is absolutely andsans always suitable or eventhat the most typeface. I am aware tocontemporary lay down the law A typeface haswill first tooffend be legible, nay,romantic readable, like this the and a sans serif is certainly not the most predilections of a large partlegible of the typeface whentrade set in quantity, alone readable.” printing and thelet public for the

old ‘decorative’ faces.”

—Jan Tschichold, —Jan Tschichold, 1959 1928

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Poster for Kunsthalle Basel, 1977, Wolfgang Weingart

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Support

For his writings on the New Typography, Jan Tschichold received praise from fellow modernist designers of the time such as El Lissitzky, Walter Gropius, Herbert

Bayer, László Moholy-Nagy and Paul Renner who is notable for designing the iconic modernist typeface Futura in 1927. The principles outlined in Die Neue Typographie also paved the way for the International Typographic Style, emerging from

Switzerland during the 1950s the International Style expanded on the principles set

forth in Die Neue Typographie which had an undeniable influence on the protagonists

of the movement such as Emil Ruder, Josef Müller-Brockmann and Max Bill.

It should be noted that despite Tschichold’s adherence to the New Typography

after 1923, he did not entirely abandon traditional book design. Until 1933 a number

of his designs still implemented symmetry, decorative ornaments and both serifed and Fraktur typefaces—all of which were rejected within Die Neue Typographie.

Despite Tschichold’s implementation of classical design methods for his book layouts after 1928, he was never credited for these works. This gives the impression that he

considered them lesser achievements than his work reflecting the New Typography.

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Die Neue Typographie: as a failed theory_

For his writings on th For his writings on th Typography, Janon Tsch For his writings th received praise from praise fellow received praise from For hisfrom writings onmth time such as El Lissit designers of time time suchpraise as the El from Lissit received László Moholy-Nagy Lissitzky, Walter Gro László Moholy-Nagy timehis such as El Lissit For writings on th for theon icon Fordesigning his writings th Bayer, László Mohol for designing the icon László Moholy-Nagy received praise from 1927. Thepraise principles received fromo Renner who notabl 1927. The principles for the icono timedesigning such as isEl Lissit also theElway fo time paved such as Lissit the modernist alsoiconic paved the way foo 1927. The principles László Moholy-Nagy Lászlóemerging Moholy-Nagy Style, from in 1927. Thethe principl also paved way fo for designing the icon Style, emerging from for designing the icon International Style ex Die Neue Typographi 1927. The principles International Style, emerging Style from exo 1927. The Typographi principles o Die Neue also Neue paved the way ex fo Die Typographi International way for the Internati Style also paved the way fo on the protagonists o on protagonists Die Style, Neue Typographi Forthe hisemerging writings from onot Josef Style, Müller-Brockm emerging from Josef during on theMüller-Brockm protagonists the 1950s theex o Typography, Jan Tsc International Style It should be noted International Style ex ItNeue should be on noted Josef Style expanded Müller-Brockm th received praise from Die Typographi to the NewTypographi Typograp Die Neue

“It seemed as if everything that made me curious was forbidden: to question established typographic practice, change the rules, and to reevaluate its potential. I was motivated to provoke this stodgy profession and to stretch the typeshop’s capabilities to the breaking point, and finally, to prove once again that typography is an art.” —Wolfgang Weingart

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Troubleshooting Before the beginning of World War II, Tschichold began

to reconsider and ultimately discard the principles of Die

Neue Typographie. He reverted to the traditional and

symmetrical typography he had so fervently rejected almost two decades earlier. Since Die Neue Typographie had been

a response to the disorder in European typography during

the 1920s, perhaps Tschichold now felt that further progress

was no longer necessary and that he had gone as far as he could in exploring the new frontiers.

Another event contributing Tschichold’s change of heart

occurred in 1933, when he was arrested by the Nazi’s and

labelled a cultural Bolshevik. The Nazis did not agree with

Die Neue Typographie and wanted all of German printing set in black letter type. Tschichold was held for six weeks,

but was allowed to emigrate due to the fact he was not of Jewish descent. Upon moving to Switzerland, most

of Tschichold’s work consisted of book design, he soon

became aware that his conservative client-base were not overly receptive to the New Typography.

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Troubleshooting Many of the designers who had fervently embraced Die

Neue Typographie were bewildered and even wounded

by the authors shocking reversal. Tschichold now claimed that “In time, typographical things, in my eyes, took on a

very different aspect, and to my astonishment I detected

most shocking parallels between the teachings of Die Neue

Typographiet and National Socialism and fascism. Obvious similarities consist of the ruthless restriction of typefaces

and minimalistic arrangement of lines. Because I did not

want to be guilty of spreading the very ideas of what had

compelled me to leave Germany, I thought over again what

a typographer should do”.

He also added that the

also did not “allow for desire for variety. It

militaristic attitude”.

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Die Neue Typographie: as a failed theory_

Tschichold now believed that typographers should embrace humanist ideals and utilize the wisdom and achievements of past typographers and the entire heritage of graphic

design as sources of inspiration. Although he continued to consider Die Neue Typography

appropriate for fields such as advertising and perhaps for some publications, he found it

inappropriate for most scholarly and literary publications. A so-called ‘second edition’ of

Die neue Typographie—in fact a facsimile edition of the book of 1928, with merely a

changed title and imprint page—was important in signalling that ‘young Tschichold’ had

now been freed from his own, later even posthumous grip, which would not have allowed

an unmodified republication of this text.

New Typography

r the human has an entirely

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â&#x20AC;&#x153;Since typography appertains to each and all, it leaves no room for revolutionary changes. We cannot alter the essential shape of a single letter without at the same time destroying the familiar printed face of our language, and thereby rendering it useless.â&#x20AC;? â&#x20AC;&#x201D;Jan Tschichold

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Die Neue Typographie: as a failed theory_

“In 1962 I started to work with the letter M. Out of curiosity I invented new signs that could be combined with the letter M and carved the compositions in flat blocks of soft wood. By making my own letters, I became sensitive to their forms and expression” —Wolfgang Weingart

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Update Wolfgang Weingart was born near the Swiss border of Germany in 1941. He enrolled in a course in applied art and design at the Merz Academy in Stuttgart in 1958. There he

discovered the schools printing facilities and, at the age of 17, set type for the first time.

After graduating, he undertook a rigorous apprenticeship as a typesetter at Ruwe Printing in Stuttgart, he met house designer Karl-August Hanke, a former student at the Basel

School of Design. It was Hanke who became a mentor to the young Weingart, introducing him to design being done outside of Germany, particularly in Switzerland, where Ruder,

Armin Hofmann and Karl Gerstner were making work that would come to be referred to as the International Style.

Although strong evidence of Swiss orderliness could be seen in the simple letterheads

and business cards that Weingart designed during his time at Ruwe, his work possessed a spontaneity and deliberate carelessness that transcended the precepts of Swiss design

of that period. Even at this early stage in his professional development, Weingartâ&#x20AC;&#x2122;s innate sense of the limitations of perpendicular composition in lead typesetting, coupled with

the strict technical and aesthetic discipline of his apprenticeship and his rebellious nature, drove him inexorably to pursue a more experimental approach. A dropped case of six-

point type served as the basis for his round compositions. He scooped the type up from

the floor and tied it up to form a disc. By printing both the faces and the bottoms of the

bodies of the metal type, he achieved the illusion of depth.

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Die Neue Typographie: as a failed theory_

Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Wed Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Thu Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon Mon

Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar Mar

11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 11 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23 23

The discs became spheres.

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Update

Weingart continued his studies at the Schule für Gestaltung Basel from 1964 onwards as an independent student under

the informal tutorage of Armin Hofmann and Emil Ruder.

After two years Hofmann granted Weingart the permission to stay longer; at the same time, Ruder extended privileged

access to the typeshop. Working independently, Weingart started to experiment with typographic concepts and

components such as “slant, weight, size, the expression

of various types, the limits of readability and the most

interesting, the effects of letterspacing.” He also created

shapes out of linoleum and strips of metal, which he used as

additional elements to metal type. The combination of those experiments with the use of filmsetting led to staggering results. “In the darkroom, through photomechanical

processes, [he] made words and lines of type completely

illegible.” Even though Weingart affirmed that he took

“Swiss Typography as a sensible point of departure, and

through teaching and experimenting [he developed] new design models,” it seems that “he deliberately broke the

rules set out by Ruder.” But to break the rules, you need to

know them—and in that sense Weingart was empowered

with all the required criteria to act in this way.

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ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed ed hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu hu on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on on

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Die Neue Typographie: as a failed theory_

Syste

rror_

Die Neu

Weingart designed a series of twelve covers for Typografische MonatsblĂ¤tter between 1972â&#x20AC;&#x201C;73. These covers definitively fractured the accepted convention of Swiss Typography.

[

ue Typographie: as a failed theory_

“Very disturbing that one still has to endure more of these covers by the anti-typographer Weingart.” —Jan Tschichold

[Typography can be art in some circumstances]

Typographische Monatsblätter issue 11, 1973, Wolfgang Weingart_

Typographische Monatsblätter

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<bibliography> <print> <bringhurst, robert. the elements of typographic style. 4th ed. point roberts, wa: hartley & marks, 2012 print.> <carter, sebastian. twentieth century type designers. new york: taplinger, 1987. print.> <hollis, richard. graphic design: a concise history. new york: thames and hudson, 1997. print.> <hollis, richard. swiss graphic design: the origins and growth of an international style, 1920-1965. new haven: yale up, 2006. print.> <kinross, robin. modern typography: an essay in critical history. 1st ed. london: hyphen, 1992.print.> <louise, paradis. 30 years of swiss typographic dis course in the typografische monatsbl채tter: tm rsi sgm 1960-90. lars m체ller, 2013. print.> <mclean, ruari. jan tschichold: a life in typography. new york, ny: princeton architectural,1997. print.> <ruder, emil. typographie. sulgen, switzerland: niggli, 2001. print.> <tschichold, jan. jan tschichold: master typographer : his life, work & legacy. london: thames & hudson, 2008 print.> 88/89

<tschichold, jan. the new typography: a handbook for

Modern Designers. Berkeley: U of California, 1995 Print.> <Weingart, Wolfgang, and Katharine Wolff. Typography: My Way to Typography ; Retrospective in Ten Sections. Baden/Switzerland: M端ller, 2014. Print.> <print> <screen> <Helvetica. Swiss Dots Ltd. ;, 2007. DVD.> </screen>