Typotekts Chapbook

Introduction

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© Ryan W. Brewer, 2015

Introduction

TYPOTEKTS:

Z WA R T, SCHUITEMA,& INNOVATIONS IN DUTCH AVANT-GARDE T YPOGRAPHY RYAN W. BREWER

Introduction

Introduction

The beginning of the twentieth century was an exciting time for typographic design in Europe. Born out of restlessness and the convergence of revolutionary ideals, modernism was taking shape. For these various modernist movements—Futurism, Dadaism, De Stijl, Russian Constructivism, and Bauhaus, to name a few—the messaging was of the utmost importance.

These collectives all drew up elaborate and impassioned manifestos and journals: declarations of rebellion and intent, mission and philosophy, with all criteria of the group’s style and visual aesthetic explicitly outlined. And for these messages, compelling and innovative typography was key.

But what prompted this shift from classical design? David Ryan calls the development “a heady mixture of many influences: creative genius, technological advances, business considerations, readability, and significant breakthroughs in the major art movements of the period.” Ryan further elaborates that the trend developed from both the assistance of and resistance to groundwork laid by ornamental art of the nineteenth century; while these forms adhered to commercial needs—underpinned by function and economy—their style was losing its appeal in an ever growing industrialized society. Ryan concludes, “the jarring juxtapositions in type [in its various forms] reflected the tremendous upheavals in politics, society, and world wars” (3).

As a result of its position of neutrality in World War I, the post-war modern art movement in the Netherlands took on a unique form; inherently more optimistic than its counterparts, it sought harmony through radical minimalism and geometric unity, adopting page design as a vital method of expression. Heavily inspired by Russian Constructivism, German Bauhaus, and the Netherland’s own De Stijl movement, two

Piet Zwart Self-Portrait.

1931.

Piet Zwart was born in Zaandijk, Northern Holland in 1885.

He attended the school of arts and crafts in Amsterdam from 1902-1907, and it was here that he began to combine his interests in painting, architecture, and furniture design. For the next five years he taught art history at a girls school in Leewarden, and received his first furniture and interior design commissions in 1911. From 1913-1914 he studied at the technical college in Delft, but this was cut short by the start of the first world war (Spencer 109). He also taught art history and technical design at Rotterdam academy between 1919 and 1933 (Burke 82).

Origins

very influential innovators of the Dutch avant-garde were Piet Zwart and Paul Schuitema. Working in styles ranging from strict geometric compositions to photomontage, “Zwart and Schuitema laid the foundations for a flourishing and influential twentieth century Dutch design movement” (Andel 171).

One of the most striking differences between these two Dutch designers and other contemporaries, likely as a result of Dutch neutrality, was their involvement in creating compelling commercial work. While their predecessors and counterparts were arguably more politically motivated, the situation for designers in the Netherlands allowed for a relatively uninterrupted evolution in commercial design. A key component in this evolution was the role of the modern architecture movement, called either Nieuwe Bouwen (New Buildings), Nieuwe Zakeliijheid (New Objectivity), or simply Functionalism; many Dutch architectural organizations seemed to be in agreement over “using the potent language of avant-garde page design for communicating their ideas on social concerns in architecture” (Andel 237-241).

Paul Schuitema Cover of de 8 en Opbouw [8 in Construction], no. 23.

1932.

Origins

From 1919-1921, Piet Zwart worked for architect Jan Wils, a member of Dutch modern art group De Stijl (Spencer, 109). In 1921, he began to work as assistant for H.P. Berlage, and it was here as a member of this architecture firm that Zwart produced his first commercial advertisements.

While his work sought to break the geometric rules laid out

by De Stijl (namely, strict enforcement of horizontal and vertical lines), there was still an adherence to the group’s palette: primary blue, red, and yellow. By the year 1925, Zwart was devoting most of his time to typography, and would produce over 300 advertisements in the decade that followed. Referring to himself as a typotekt, much of this output was highly experimental “free-form invention using elements found in the typesetters’ case” (Ryan 46).

Perhaps his most well known work was associated with Nederlandse Kabelfabriek (Netherlands Cable Factory), or NKF; with these projects he really came into his own. Some of these designs were entirely typographic, with “playful contrasts of weight and scale” and “ingenious manipulation of type and rules” (Spencer 109). After learning the technique of photomontage from Russian Constructivist El Lissitsky, this technique found its way into his work. He was often his own copywriter, so he had full control over the relationship between words and images; Spencer writes, “the whole uninhibited pioneering enthusiasm of his attack suddenly changed the printed page with a new power, a new tension, and gave it in effect, a new dimension” (109).

Other signature characteristics of his work included: drawing logotypes in geometric lettering; asymmetrical layouts; intense use of high-contrast photographs and negative reproductions; acuity with overprinting, the process of

Piet Zwart.

Pages from NKF booklet.

1924.

At a time when the popular opinion was still debating the merits of using photography in advertising, Piet Zwart and Paul Schuitema were developing their own interest in photo collage and photomontage, and this made a dramatic influence on their body of work. Schuitema began his experiments with photomontage in 1926, and is credited with his own edgy style of layout, introducing such innovations as “cinematic picture narratives with shifting perspectives” (Ryan 42). His most notable work came from his years with Rotterdam manufacturer NV Maatscgaooij Van Berkel Patent, where he was given full reign to experiment with new techniques and materials. For them he designed a full range of graphic materials, such as trademark and brochures, with the goal to “use minimum means for maximum effect” (Spencer 109). From 1932-1943, Schuitema further honed his voice and audience as designer for influential architecture magazine de 8 en Opbouw (8 in Construction) (Ryan 42).

Schuitema’s work with photographs signaled an increase in the influence of cinematic narrative into the modernist’s

Innovations

superimposing photographs of different colors; and the use of transparent materials, cut-out shapes, and clever folds (Spencer 109).

Paul Schuitema was born in Groningen, Northern Holland in 1897. His background was originally in painting, but after studying at the Academie voor Beeldende Kunsten in Rotterdam, his focus soon turned to design. Like his colleague Zwart, he too was influenced by Dada, Constructivism, and De Stijl; in time, he would become known for his austere typographic compositions, cutout photographic forms, and use of contrast with red-tinted areas.

Paul Schuitema Page from Boele & Eesteren.

1936.

Zwart takes a lot of his influence from the Constructivist movement, which sought to replace art (viewed as an “outdated bourgeoisie exercise”) with design (having mass utilitarian appeal) (Andel 180). He likely met the movement’s own El Lissitsky through Kurt Shwitters, who at the time was working very closely with fellow Dadaist Theo Van Doesburg; together they often collaborated with Lissitsky on their journal Merz.

Lissitsky also shared a profound passion for typography, book and poster design, and in some part inspired Zwart’s own similar experiments.

Zwart and Schuitema began communication with the Ring “Neue Werbegestalter” (Circle of “New Designers”) shortly after its inception in 1928 by German avant-garde designers Walter Dexel, Kurt Schwitters, Max Bucharz, Jan

Innovations

concepts of page design; with such inspiration appearing in, but not limited to, changing perspectives in cubism, Dadaist Maholy-Nagy’s use of filmstrips in his books, and Constructivist Rodchenko’s silent-film-inspired photomontages (Andel, 285). There existed a reciprocal relationship between both abstract film and design. In print, the use of overprinting, or color overlay, was very popular; Schuitema used this technique often, particularly for his advertisements for the Film Liga (Film League) in Rotterdam (Andel 300). Additionally, Zwart shared similar motivation, incorporating all manner of imagery and iconography: film strips, movie cameras, and projectors; and employing such similar formal methodology as multiple exposures and overprinting. Andel writes, “he therefore summarized the cinematic and photographic ideas that influenced avant-garde page design during the 1920’s and 1930’s (299).

Paul Schuitema Advertisement for Berkel.

1927.

Influences

Tschichold, and many others. The formation of this group followed the formation of a new movement called The New Typography, popularized by Tschichold’s book of the same name. The movement, organized with the Bauhaus artists, was responsible for promoting a new style—elegant and austere—which soon became an international language of graphic design (Andel 180).

The New Typography was known for taking abstract geometric cues from both Neoplasticism and Constructivism. The group desired to make a new visual language based on simplicity, clarity, and function; these artists “also believed that these innovations would lay the foundation for a society where form would follow function, and the economical use of materials and techniques would contribute to a just social order (Andel 180).

Jan Tschichold discovered an affinity for Zwart’s work while composing Die neue Typographie; and, after seeing some of his work for NKF in Dutch advertising magazine De Reclame (1927), he began correspondence with him through an exchange of letters and samples of their work (Burke 85).

Tschichold was obviously smitten with Zwart’s keen eye, and thought of them to be of the same creative elite. Tschichold said in his letters, “I work in an extremely similar spirit to yourself,” and “I like all of your work without exception” (Burke 82).

These compliments were no doubt significant, as Tschichold was known to be dismissive at times; he once spoke of famous type designer Paul Renner as belonging to the ‘rearguard’ and not the ‘avant-garde.’ Tschichold went on to include Zwart’s work in both Die Neue Typographie and Geffeselter Blick. In the same magazine that he discovered Zwart, de Reclame, Tschichold also discovered the work of Paul Schuitema, who also served as a great influence (Burke 83).

Paul Schuitema Cover of Filmliga.

1928.

Legacy

Unfortunately, many of these ideals and aesthetics were to be later co-opted by the Nazis and other totalitarian regimes for use in their propaganda, leading Tschichold and others to abandon the movement and return to classic principles (Andel, 174-187). Zwart continued his print designing in Holland throughout the thirties, but switched to industrial design after being held as a Nazi hostage for his subversive typography. Other modernist artists like Laszlo Moholy-Nagy, Josef Albers, and Hans Richter fled to America to escape such persecution.

Zwart enjoyed a successful career well into the 1960s, and is highly celebrated in the Netherlands. The Piet Zwart Institute in Rotterdam shares his namesake, and in 2000, he was named the Designer of the Century by the Dutch Designers association. He died in Wassenaar in 1977 at the age of 92.

Paul Schuitema was a filmmaker as part of the Dutch Resistance, and afterwards, helped to found the Dutch Cooperative for Film Production (Nederlandse Werkgemeenschap voor Filmproductie, NWF). Like his lifelong colleague Piet Zwart, he had also experienced a prosperous career in industrial design. Schuitema died in Wassenaar in 1973.

Although the momentum of these designers was slowed by the war, their innovations undoubtedly altered the face of visual communication forever.

Piet Zwart Cover of Duitsche Filmkunst.

1931.

Burke, Christopher. Active Literature: Jan Tschichold and New Typography. London: Hyphen Press, 2007. Book.

Le Coultre, Martijn F., and Alston W. Purvis. Jan Tschichold: Posters of the Avant-Garde.

Boston: Birkh채user, 2007. Book.

Ryan, David. Letter Perfect: The Art of Modernist Typography, 1896-1953. Rohnert Park: Pomegranate Communications, 2001. Book.

Spencer, Herbert. Pioneers of Modern Typography. New York: Hastings House, 1970. Book.

Introduction Bibliography

Anden, Jaroslav. Avant-Garde Page Design, 1900-1950.

New York: Delano Greenridge Editions, 2002. Book.