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Includes typographic examples by Jan Tschichold, El Lissitzky, Kasimir Malevich, Vladimir Tatlin, Walter Dexel, Willi Baumeister, F. Don't miss my updates and news on photobooks - register for free - or follow my updates on the virtual bookshelf on facebook.
Dincasurveying the most noteworthy and innovative artworks that exist in physical, digital, and time-based spaces. TIP: If you ever want to view an image at a larger size, drag the image out of the light-box pop-up frame to your desktop. Dincasurveying the most noteworthy & innovative artworks that exist in physical, digital, & time-based spaces.
From 1926 until 1933, Jan Tschichold taught typography at Paul Renners Master Classes for Book Printers in Munich.
It is something of an understatement to say that typographer Jan Tschichold was confident of his own importance. Morison, begetter of the Times typeface amongst many others, is now largely hidden in history.
After four weeks in prison, and with no prospect of work in Germany, Tschichold and his family soon took refuge in Switzerland, leaving in August 1933, thanks to a sympathetic German policeman who helped him get a passport. As well as demanding more from his printers, Tschichold tidied up the horizontally banded covers of the standard Penguins and refined the Penguin emblem.
From 1923 Jan Tschichold freelanced as a commercial graphic artist; his clientele included Insel Verlag publishers. In 1933 Jan Tschichold emigrated to Switzerland, where he worked for several publishers in Basel and taught at the School for the Applied Arts. On the occasion of his 70th birthday in 1972, he wrote his own tribute in the third person. Its title borrowed from Moholy-Nagy, the book set out a series of stern foundational principles for good design: the use of sans-serif fonts, standardised paper sizes, photographs rather than drawn illustrations, asymmetrical rather than centred layouts.


The transition does not appear to have been difficult: with an established reputation and connections with the School of Arts and Crafts in Basel, Tschichold was soon teaching, designing posters, curating exhibitions and writing on typographic practice and history. Since 1928, in a series of articles in trade magazines, he had given British printers an insight into the continental avant-garde, explaining the New Typography, Russian Constructivism, photomontage, and the work of Moholy-Nagy – himself now working as a freelancer in London. One English achievement that he respected was the quality of typeface designs available for machine typesetting. The early work of uncompromising modernism which brought together different strands of the Modern movement has been much imitated for its bravura.
Marinetti, Tristan Tzara, Man Ray, Theo Van Doesburg, Max Burchartz, Sascha Stone, Piet Zwart, Kurt Schwitters, Herbert Bayer, Johannes Molzahn, Joost Schmidt,  Johannes Canis, Laszlo Moholy-Nagy, Franz W. In 1946 Jan Tschichold went to London, where he was art director at Penguin Books until 1949. His home town of Leipzig was the centre of the German book trade, and the young Jan was naturally drawn into the world of print. But cheap did not mean shoddy, and Lane urgently wanted to improve the quality of his output.
For the covers of the main series, Tschichold retained Eric Gill’s elegant, clean fonts Gill Bold and Gill Sans.
I seem to remember that it was a designer from the Bauhaus school itself, Tschichold came a little later. Influenced by the new Bauhaus typography, Jan Tschichold began to use serifless typefaces and designed simplified layouts.
Celebrations of the publisher’s 60th anniversary in 2005 helped bring him out of the circle of professional and academic admirers to a much wider audience. After consulting one of England’s typographer-printers, Oliver Simon, a German-speaking admirer, Lane and Simon went to meet Tschichold in Basel.
The small hardback King Penguins followed the elegant format of the Insel books: the cover with white, bordered titling label centred on a colour or patterned background, the inside pages laid out with impeccable and traditionally detailed typography.


And the way a book opened, how comfortable it felt in the hand, were as much Tschichold’s concern as the details of its typography. His examinations of book proportions and critical histories of lettering and typefaces, and the elegance of his book design, are on the shelves in advertising agencies and design studios.
Between 1955 and 1967 Jan Tschichold worked as a design consultant for the Basel pharmaceutical company Hoffmann-La Roche.
Since then three books have appeared, and now comes a coffee-table tome from Thames & Hudson. Constructivism was on view not far away in Weimar, when the Bauhaus opened its doors for a public exhibition in 1923. Rarely in more than two colours, these designs incorporate small half-tone photographs, never rectangular, but cut-out as circles or silhouettes.
This style, which he had already employed on similar books for the Basel publisher Birkhäuser, was repeated on music scores, the Reference Library series, on Penguin Handbooks and poetry titles. He considered the weight and grain-direction of paper, stiffness or flexibility of cover boards, and binding.
Founded by the architect Walter Gropius as a school of arts and crafts in 1919, Bauhaus staff included well-known artists such as Paul Klee and Wassily Kandinsky.
After the wartime restrictions on paper were lifted, Tschichold was able to replace the greyish stock with something more cream-tinted.
These reforms were made on a tight budget: the standard Penguin cost the equivalent of 15p.



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