The New Typography

THE NEW TYPOGRAPHY

WEIMAR AND NOW: GERMAN CULTURAL CRITICISM

Edward Dimendberg, Marin Jay, and Anton Kaes, General Editors

1. Heritage of Our Times, by Ernst Bloch

2. The Nietzsche Legacy in Germany, 1890-1990, by Steven E. Aschheim

3. The Weimar Republic Sourcebook, edited by Anton Kaes, Martin Jay, and Edward Dimendberg

4. Batteries of Life: On the History of Things and Their Perception in Modernity, by Christoph Asendorf

5. Profane Illumination: Walter Benjamin and the Paris of Surrealist Revolution, by Margaret Cohen

6. Hollywood in Berlin: American Cinema and Weimar Germany, by Thomas J. Saunders

7. Walter Benjamin: An Aesthetic of Redemption, by Richard Wolin

8. The New Typography, by Jan Tschichold, translated by Ruari McLean

9. The Rule of Law under Siege: Selected Essays of Franz L. Neumann and Otto Kirchheimer, edited by William E. Scheuerman

10. The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research, 1923-1950, by Martin Jay

11. Women in the Metropolis: Gender and Modernity in Weimar Culture, edited by Katharina von Ankum

12. Letters of Heinrich and Thomas Mann, 1900-1949, edited by Hans Wysling, translated by Don Reneau

13. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935, by Karl Toepfer

14. In the Shadow of Catastrophe: German Intellectuals Between Apocalypse and Enlightenment, by Anson Rabinbach

15. Walter Benjamin’s Other History: Of Stones, Animals, Human Beings, and Angels, by Beatrice Hanssen

16. Exiled in Paradise: German Refugee Artists and Intellectuals in America from the

1930s to the Present, by Anthony Heilbut

17. Cool Conduct: The Culture of Distance in Weimar Germany, by Helmut Lethen, translated by Don Reneau

18. In a Cold Crater: Cultural and Intellectual Life in Berlin, 1945-1948, by Wolfgang Schivelbusch, translated by Kelly Barry

19. A Dubious Past: Ernst Jünger and the Politics of Literature after Nazism, by Elliot Y. Neaman

20. Beyond the Conceivable: Studies on Germany, Nazism, and the Holocaust, by Dan Diner

21. Prague Territories: National Conflict and Cultural Innovation in Franz Kafka’s Fin de Siècle, by Scott Spector

22. Munich and Memory: Architecture, Monuments, and the Legacy of the Third Reich, by Gavriel D. Rosenfeld

23. The UFA Story: A History of Germany’s Greatest Film Company, 1918-1945, by Klaus Kreimeier, translated by Robert and Rita Kimber

24. From Monuments to Traces: Artifacts of German Memory, 1870-1990, by Rudy Koshar

25. We Weren’t Modern Enough: Women Artists and the Limits of German Modernism, by Marsha Meskimmon

26. Culture and Inflation in Weimar Germany, Bernd Widdig

27. Weimar Surfaces: Urban Visual Culture in 1920s Germany, by Janet Ward

28. Graphic Design in Germany: 1890-1945, by Jeremy Aynsley

29. Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy, by Timothy 0. Benson, with contributions by Edward Dimendberg, David Frisby, Reinhold Heller, Anton Kaes, and lain Boyd Whyte

30. The Red Count: The Life and Times of Harry Kessler, by Laird M. Easton

32. The Dark Mirror: German Cinema between Hitler and Hollywood, by Lutz Koepnick

33. Rosenzweig and Heidegger: Between Judaism and German Philosophy, by Peter Eli Gordon

34. The Authority of Everyday Objects: A Cultural History of West German Industrial Design, by Paul Betts

35. The Face of East European Jewry, by Arnold Zweig, with fifty-two drawings by Hermann Struck. Edited, translated, and with an introduction by Noah Isenberg

36. No Place Like Home: Locations of Heimat in German Cinema, by Johannes von Moltke

37. Berlin Alexanderplatz: Radio, Film, and the Death of Weimar Culture, by Peter Jelavich

38. Berlin Electropolis: Shock, Nerves, and German Modernity, by Andreas Killen

39. A Concise History of the Third Reich, by Wolfgang Benz, translated by Thomas Dunlap

40. Germany in Transit: Nation and Migration, 1955-2005, edited by Deniz Göktürk, David Gramling, and Anton Kaes

41. Weimar on the Pacific: German Exile Culture in Los Angeles and the Crisis of Modernism, by Ehrhard Bahr

JAN TSCHICHOLD

THE NEW TYPOGRAPHY

A HANDBOOK FOR MODERN DESIGNERS

Translated by Ruari McLean

WITH AN INTRODUCTION BY ROBIN KINROSS

WITH A NEW FOREWORD BY RICHARD HENDEL

UNIVERSITY OF CALIFORNIA PRESS

BERKELEY LOS ANGELES LONDON

The publisher gratefully acknowledges receipt of a translation grant from Inter Nationes.

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

University of California Press

Berkeley and Los Angeles, California

University of California Press, Ltd. London, England

© 1995, 2006 by The Regents of the University of California

First paperback printing in 1998

Library of Congress Cataloging-in- Publication Data

Tschichold, Jan, 1902-1974.

[Neue Typographie. English]

The new typography: a handbook for modern designers / Jan Tschichold; translated by Ruari McLean; with an introduction by Robin Kinross; with a new foreword by Richard Hendel.

p. cm. — (Weimar and now; 8) Includes bibliographical references. ISBN-13: 978-0-520-25012-3 (pbk.: alk. paper] ISBN-1 0: 0-520-25012-5 (pbk.: alk. paper] 1. Printing. 2. Graphic design. I. Title.

II. Series.

Z116.T7513 2006

686.2'2 —dc22 2006042070

Manufactured in Canada

18

10 9 8 7 6 5

The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (Rl997] (Permanence of Paper).

CONTENTS 1

CONTENTS 1

TRANSLATOR'S FOREWORD RUARI McLEAN

INTRODUCTION TO THE ENGLISH-LANGUAGE EDITION ROBIN KINROSS

FOREWORD TO THE 2006 EDITION RICHARD HENDEL

THE NEW TYPOGRAPHY JAN TSCHICHOLD

TRANSLATOR'S FOREWORD

RUARI McLEAN

Jan Tschichold’s first book, Die neue Typographie, was published in Berlin in 1928. Its design was not only startling, with its famous frontispiece of solid black facing the title, but also extremely elegant, in a soft black linen case blocked in silver. This was six years after D. B. Updike’s Printing Types was published in the United States, two years before Stanley Morison’s article First Principles of Typography appeared in The Fleuron 7, and three years before Eric Gill’s Essay on Typography. It was out of print by 1931 and remained out of print for fifty-six years, until the Brinkmann & Bose facsimile reprint of 1987.

Tschichold was recognized by a few people in Britain and the USA before 1939. A small exhibition of his work was held in the London office of a forward-looking printer, Percy Lund Humphries, between 27 November and 14 December 1935 [probably at the suggestion of Edward McKnight Kauffer); an article on his work by Robert Harling appeared in Printing in January 1936; and in 1937 Tschichold himself read a paper A New Approach to Typography to the Double Crown Club in London. The design of the menu for that dinner showed how little Tschichold’s ideas, and those of the modern movement generally, were understood in Britain at that time. He continued to be supported by Lund Humphries, for whom he designed the firm’s letterhead, in use from 1936 to 1948, and the 1938 edition of the Penrose Annual.

In March 1947 Tschichold came to England to overhaul the typography of the fast-growing paperback publisher Penguin Books (founded in 1935)— where he stayed for three years. But it was not until 1967 that any book of his appeared in English translation. This was his sixth book, Typographische Gestaltung, originally published in Basel in 1935 and now appearing under the title of Asymmetric Typography. It had been translated by the present writer in 1945, but remained without a publisher until Cooper & Beatty, the Toronto typesetters, sponsored it for distribution in the USA by Reinhold and in Britain by Faber & Faber.

In the same year, 1967, Tschichold asked me to translate Die neue Typographie. He planned it as a second, revised edition. He gave me a copy of the text with numerous corrections, editorial revisions, and deletions of matter he considered to be no longer relevant or now out of date: for example the entire section on standardization was taken out. It should be remembered that in a speech made to the Type Directors Club of New York in 1959 (later printed in Print under the title Quousque Tandem.. ). he said: What I do today is not in the line of my often mentioned book Die neue Typographie, since I am the most severe critic of the young Tschichold of 1925-8. A Chinese proverb says ‘In haste there is error.’ So many things in that primer are erroneous, because my experience was too small.

I translated the greater part of Die neue Typographie incorporating all the revisions, but again no publisher could be found. When Tschichold died in 1974, I placed the draft of my translation in the St Bride Printing Library in London where it could be consulted by anyone who wished to read it.

Now the University of California Press has enabled the book to appear at last in English, but in a new translation made exactly from the original text. It is therefore treated as a text of historical importance rather than the latest publication of Tschichold’s thoughts.

All the self-critical comments written by Tschichold on his revised proofs are printed below, and two of his original pages are reproduced. The original passages of text were to stand unaltered. It was not feasible to show here the cuts and other corrections, which although numerous were not of serious textual importance. In the second edition which Tschichold had planned, there would certainly have been typographical changes: paragraphs were to be indented, and book and magazine titles italicized, in accordance with modern practice. Indented paragraphs have not been introduced in the present translation, and the illustrations, some of which Tschichold intended to change or omit, are unaltered.

Tschichold’s text was epoch-making when first published. Its fundamental tenets are still absolutely valid: the book is as well worth reading today as it ever was.

For helping me at various times with my translation I must express my gratitude first to the late Hans Unger, and later to Hans Dieter Reichert, Jost Hochuli, Robin Kinross, and my Californian copy editor Nicholas Goodhue. But any grievous errors must be my own.

April 1993 ISLE OF MULL

REVISIONS TO DIE NEUE TYPOGRAPHIE

JAN TSCHICHOLD, 1967.

P. 30: as governing design in general (Gesetze der Gestaltung überhaupt*).

*Der Autor, 1967: Das stimmt nicht. Die Malerei kann zwar einen befruchtenden Einfluss auf die Typographie ausüben, doch sind die Gesetze der typographie autonom.

The author, 1967: That is not right. Painting can indeed have a fruitful influence on typography, but the laws of typography are its own.

P. 67. and therefore must be inorganic (und darum unorganisch sein muss*).

*Die Autor, 1967: Dieses Urteil über den zentrierten Büchtitel ist reichlich ungerecht.

The author, 1967: This pronouncement on centered book title-pages is substantially unjust.

P. 68. Every piece of typography which originates in a preconceived idea of form, of whatever kind, is wrong (Jede Typographie die von einer vorgefassten Formidee — gleichviel welcher Art — ausgeht, ist falsch*).

*Die Autor, 1967: Das ist ein allzu rigoroser Standpunkt. Er würde das typographische Spiel, an dem wir uns gelegentlich freuen, verurteilen.

The author, 1967: That is altogether too narrow a view. It would contradict the freedom for typographic jokes which we sometimes enjoy.

P. 71. a fear of pure appearance (indem man ihn schmückt*).

*Der Autor, 1967: So einfach ist das nicht. Das Bedürfnis nach Schmuck ist elementar und nicht kindlich-naiv.

The author, 1967: It is not so simple. The desire for ornament is elemental and not childish-naive.

P. 75. also the classical typefaces (will) disappear, as completely as the contorted furniture of the eighties (etwa den Muschelmöbeln der achtziger Jahre zuteil wird**).

**Die Prognose über die Zukunft der klassischen Schriften hat sich a/s irrig erwiesen.

The forecast about the future of classical typefaces has been proved wrong.

P. 76. among whom I expect there must be an engineer (unter denen sich wohl auch ein Ingenieur befinden müsste*].

*Der Autor, 1967: Die Situation ist heute ganz anders. So ist die Univers, aus der dieses Buch gesetzt ist, eine der besten heutigen Endstrichiosen und stellt dar, was ich 1928 ertraümt habe.

The author, 1967: The situation today is quite different. Univers, in which this book is set, is one of the best sanserifs, and is what I dreamed of in 1928.

P. 77. Their use for parody, in the sense described above, of course remains legitimate (oben bezeichneten Sinne bleibt natürlich offen*].

*Der Autor, 1967: Diese Meinung hat sich als viel zu streng erwiesen.

The author, 1967: This opinion now seems far too strong.

P. 78. It will remain the exception (eine Ausnahme bilden*].

*Der Autor, 1967: Das war einmal.

The author, 1967: That was in the past.

P. 78. would hardly have brought them back again (kaum wieder ans Tageslicht gezogen**].

**Der Autor, 1967: Die Assoziation stellen sich nur bei wenigen ein und stören auch diese nicht.

The author, 1967: The associations have little real influence and do not harm these types.

P. 80. or an industrial catalogue (oder ein Industriekatalog*].

*Der Autor, 1967: Hier wird das Kind mit dem Bade ausgeschüttet!

The author, 1967: Here, the baby is thrown out with the bathwater!

P. 80. it is totally unsuitable for the 20th century (heute noch zu verwenden**].

(Der Autor] **Auch hier!

Here too!

P. 96. the luxury-concept of the Book Beautiful belongs to the past (der Vergangenheit angehört].

Der Autor, 1967: Welch ein Irrtum!

The author, 1967: What a mistake!

Pages from Die neue Typographie showing Tschichold’s hand-written revisions for a planned second edition.

INTRODUCTION TO THE ENGLISH-LANGUAGE EDITION

ROBIN KINROSS

Significant literary work can only come into being in a strict alternation between action and writing; it must nurture the inconspicuous forms that better fit its influence in active communities than does the pretentious, universal gesture of the book — in leaflets, brochures, articles, and posters. Only this prompt language shows itself actively equal to the moment. Opinions are to the vast apparatus of social existence what oil is to machines: one does not go up to a turbine and pour machine oil over it; one applies a little to hidden spindles and joints that one has to know.

1928 WALTER BENJAMIN*

Die neue Typographie was published in Berlin in June 1928. The author was the then twenty-six-year-old German typographer Jan Tschichold. The publishers were the Bildungsverband der Deutschen Buchdrucker: the educational association of the German printing-trade union. The book was the most detailed and best-illustrated exposition of the New Typography. This was the manifestation in the sphere of printed communication of the modern movement in art, in design, and — at least this was its aspiration — in life as a whole, which developed in Central Europe between the two world wars. To take representative or iconic instances, one could mention the new architecture built for the city of Frankfurt (under the direction of Ernst May), the political theatre of Bertolt Brecht and Hanns Eisler, the tubularsteel furniture of Mart Stam or Marcel Breuer, the cinema of Dziga-Vertov or Joris Ivens, journals such as ¡10 or Die Form’, work in which formal innovation and social concerns were intertwined. The New Typography now falls into place in the constellation of Central European modernist culture. Tschichold’s book remains unsurpassed as the best single document of and about the New Typography. But its context and concerns now need considerable explanation.

TSCHICHOLD BEFORE DIE NEUE TYPOGRAPHIE

Jan Tschichold (1902-1974) was the son of a Leipzig sign-writer and lettering artist.¹ His early start in — and lifelong preoccupation with — lettering and typography is thus not surprising. Leipzig was one of the centres for printing and publishing in Germany, and at the heart of the country’s typographic culture. After an informal apprenticeship to his father, he attended classes at the Akademie für Künste und Buchgewerbe [academy of art and of the book trade] in Leipzig (from 1919] and then [from 1921] at the Kunstgewerbeschule [school of arts and crafts] at Dresden. In 1921 he also started to teach an evening class in calligraphy at the Leipzig Akademie.

In the early 1920s Tschichold worked primarily as a calligrapher, writing out texts for printed reproduction. Small advertisements for the Leipzig trade fairs were a staple job. The design approach of this early work can be called traditional, although it seems to show a rather eclectic experimentation with different letterforms and styles of writing.

In Tschichold’s own account, two turning-points for him came in 1923. First, he began to practice the previously unknown profession of typographic designer with the large Leipzig printing firm of Fischer & Wittig.² The characteristic, defining activity of the typographic designer was the instruction of compositors by precisely drawn and dimensioned layouts. Previously the process of setting type had not been formally directed, except perhaps by vague sketches drawn by compositors themselves Cor their senior colleagues], or occasionally (since perhaps the end of the nineteenth century] by the figure that Tschichold refers to, in quotation marks, as the book-artist.³

The second turning-point was Tschichold’s conversion to modernism, which he dated from his visit to the exhibition of the Weimar Bauhaus in the summer of 1923. This was the first full presentation of work done at the Bauhaus, held just at the point when the school was turning from its initial handicrafts phase towards a more technically oriented program and an engagement with the conditions of industrial production. The experience of visiting this exhibition touched Tschichold at the deepest level.⁴ The first clearly modern works by Tschichold that have been reproduced are dated to 1924: a poster for the Philobiblon publishing house in Warsaw, a letterheading for Nina Khmelova in Moscow. Before this, in 1922 or 1923, he is reported to have made the acquaintance of László Moholy-Nagy, who in turn introduced him to El Lissitzky: the two artist-designers whose work most encouraged his turn.⁵ And a significant indicator in this process of change was his adoption, around 1923/24, of the name Iwan Tschichold.⁶ His given name had been Johannes Tzschichhold: his father, and mother also, had Slav origins. Throughout his working life Tschichold tended to look East — he became an authority on Chinese and Japanese prints — but at that point in the mid-1920s, this perhaps ancestral inclination took on a particular ideological charge.⁷ Iwan proclaimed his new allegiance to the social-artistic ideas of the Russian Constructivists.

Tschichold’s first published statement came in October 1925, in a special issue of the journal Typographische Mitteilungen, entitled elementare typographie.⁸ This was the journal of the Bildungsverband der Deutschen Buchdrucker (then published in Leipzig), and in having the same publisher and in its character as an anthology of the movement, this document prepared the way for Die neue Typographie⁹ Even more clearly than the later book, elementare typographie represented an implant of foreign ideas into the settled world of the German printing trade. Among the texts included were a manifesto of