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Graphic Icons: Visionaries Who Shaped Modern Graphic Design is the new book from John Clifford. John was happy for me to share the section about German designer Jan Tschichold (1902-1974).
Just as his design predecessors influenced Jan Tschichold, so he shaped graphic design long after his own death. In 1928, Tschichold published a manual that continues to influence people today: Die neue Typografie (The New Typography), which is still in print.
After a move to London in 1947, he standardized the look for the inexpensive paperbacks of Penguin Books.
Excerpted from Graphic Icons: Visionaries Who Shaped Modern Graphic Design by John Clifford.

After growing up in the heart of Germany’s book industry, Tschichold had a formal education in classical typography and calligraphy. The strict standards in this book aimed to free designers from traditional restrictions and move them beyond centered type and ornaments.
He color-coded the horizontal bands on the covers (orange = fiction, blue = biography), a design touch that is still in use today. A Bauhaus exhibition in 1923 introduced him to Constructivism, and he soon began incorporating modern elements into his designs. He believed design should be clear and efficient—and that the tools of clarity were sans serif type, asymmetric compositions, photography, and white space.
In addition to design and typographic principles, he considered how the book felt in the hand, and established rules for printing, paper weight, and binding.

His photomontage posters for Munich movie theater Phoebus Palast show the influence of Laszlo Moholy-Nagy and El Lissitzky. Centered type, serif faces, and ornaments began to appear in his work, as he understood that different projects called for different solutions. Demanding and inflexible, he raised the level of quality and set standards that influenced the entire publishing industry.

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