What impact has Jan Tschichold s work had on modern design?

Transcription

1 What impact has Jan Tschichold s work had on modern design? Name: Solji Kim Studentnumber: Communication & Multimedia Design Lecturer: Rob van den Idsert Course: Seminar Concept English Block B Course code: JDE-SCONE.3V-13_2016 Date: Specialisation: Concept Design English Format: Mini Lecture Amount of words: 3750

2 INDEX 1. INTRODUCTION - BACKGROUND - PURPOSE 2. RESEARCH QUESTION 3. RESEARCH - METHOD - WHO IS JAN TSCHICHOLD? - CLASSIC TYPOGRAPHY BEFORE THE NEW TYPOGRAPHY - SHORT HISTORY OF THE BAUHAUS AND THE NEW TYPOGRAPHY - SUB QUESTION RESEARCH :: HOW IS THE NEW TYPOGRAPHY STILL INFLUENCING MODERN DESIGN? :: WHAT ARE SOME EXAMPLES OF HIS WORK THAT WE CAN SEE IN DAILY LIFE? :: WHAT HAS BEEN THE IMPACT OF JAN TSCHICHOLD ON MODERN DESIGNERS IN DIFFERENT COUNTRIES AROUND THE WORLD :: WHAT DO YOU THINK ARE THE DIFFERENCES BETWEEN JAN TSCHICHOLD S WORK AND THAT OF MODERN DESIGNERS, AND WHY DO YOU THINK THIS? 4. CONCLUSTION 5. LIST OF SOURCES 6. APPENDIX

3 INTRODUCTION BACKGROUND I was interested in the history of typography and graphic design. I have been interested in Jan Tschihold was a prominent twentieth century German typographer who I admire and get inspiration the most. I've always admired his work <The New Typography> which became standard textbooks for typographers. <The New Typography> has had a great influence on past and present day designers as well as students who want to learn graphic design. As the CMD student, I think we need to know why many designers are greatly influenced by his work. Also I thought I could learn more about him if I would proceed to investigate about him. Therefore, I found the most basic curiosity in my mind as a question: How can we see his influence in today s typography and graphic design field? Why many designers are greatly influenced by his work? I researched to figure out what is the reason of this situation. This researched focused on thoughts of people affected by his work rather than what he did and it is contained my conclusions that I learned while conducting the investigation. PURPOSE Literally, the goal of this research is to finding out what impact has Jan Tschichold s work had on modern design. also I would like to say my perspective on Jan Tschihold and own conclusions about the attitude we should have as CMD students though my entire research.

4 RESEARCH QUESTION WHAT IS THE IMPACT OF JAN TSCHIHOLD S WORK ON DESIGNERS TODAY? :: How is the New Typography still influencing modern design? :: What are some examples of his work that we can see in daily life? :: What has been the impact of Jan Tschichold on modern designers in different countries around the world? :: What do you think are the differences between Jan Tschichold s work and that of modern designers, and why do you think this?

5 RESEARCH METHOD I had to interview people for this research. I had found their portfolio who seed to be inspired by Jan Tschihold and interviewed them through social networks via face book massages and . I took the photos of the posters, pamphlets and signs in the street that seem to be affected by his rule. I continued desk research and books to find design examples of using typeface Sabon that he made. Design reference website surveys are also included.

6 RESEARCH WHO IS JAN TSCHICHOLD? Jan Tschichold was a prominent twentieth century German typographer and book designer. He was a remarkable teacher and an author as well. He is best known for writing Die neue Typographie and Typographische Gestaltung which became standard textbooks for the next generation of typographers. Born on April 2, 1902, Jan Tschichold grew up in Leipzig, Germany. His father was a provincial signwriter and trained in calligraphy. Tschichold s rich artistic background and the calligraphic training he received from his father set him apart from his contemporary typographers. Since he didn t receive any such formal fine art education, he felt more at home utilizing commercial paper stocks and used stock fonts instead of handmade papers and custom fonts which other typographers prioritized. Upon Hitler s election in Germany, the Ministry of Culture required all designers to register themselves with the ministry. Also communist sympathizers were barred from attaining any teaching posts. At the behest of Paul Renner, Tschichold succeeded to garner a teaching post in Munich. However, they were both denounced as cultural Bolshevists. In 1933, as Nazis rose to power, Tschichold and his wife were arrested. The Soviet posters found in his apartment during his arrest put him under scrutiny, based on the suspicion of his involvement with communists. Secret State Police of Nazis, The Gestapo, seized all of his books. Nonetheless, he found an opportunity to escape from the reign of terror in Germany as a policeman got him and his family a ticket for Switzerland. Except from his brief visits to Britain in 1937 and late 1940s, he remained settled in Switzerland till the end of his days. In 1923, subsequent to his visit to the first Weimar Bauhaus exhibition, he converted to Modernist design principles. Tschichold soon became a strong advocate of Modernist design which he manifested through influential magazine supplement published in Two years later he held a personal exhibition showcasing Modernist design. Moreover, his magnum opus The new typography is testimonial of his support for Modernism. The book is considered a manifesto of modern design which reflects Tschichold s opinion of application of different typefaces. He condemned all typefaces in his work, except sans-serif or more commonly known as Grotesk in Germany. He codified several of Modernist design rules and approved non-centered designs. He emphasized on the use of standardized paper sizes for all printed matter. He also explained the effective use of different sizes and weights of type in order to easily convey information. In addition to that Tschichold wrote a series of practical manuals on the principles of Modernist typography. Those had a great influence on printers and ordinary workers in Germany. During his stay in England in late 1940s, he was requested by Penguin Books to redesign their paperbacks, thus he supervised the redesign of 500 books. Furthermore, Jan Tschichold wrote a guideline based on typographic and composition instructions for editors and compositors at Penguin, the Penguin Composition Rules.

7 RESEARCH WHO IS JAN TSCHICHOLD? he New Typography Jan Tschichold was a prominent twentieth century German typographer and book designer. He was a remarkable teacher and an author as well. He is best known for writing Die neue Typographie and Typographische Gestaltung which became standard textbooks for the next generation of typographers. Born on April 2, 1902, Jan Tschichold grew up in Leipzig, Germany. His father was a provincial signwriter and trained in calligraphy. Tschichold s rich artistic background and the calligraphic training he received from his father set him apart from his contemporary typographers. Since he didn t receive any such formal fine art education, he felt more at home utilizing commercial paper stocks and used stock fonts instead of handmade papers and custom fonts which other typographers prioritized. Upon Hitler s election in Germany, the Ministry of Culture required all designers to register themselves with the ministry. Also communist sympathizers were barred from attaining any teaching posts. At the behest of Paul Renner, Tschichold succeeded to garner a teaching post in Munich. However, they were both denounced as cultural Bolshevists. In 1933, as Nazis rose to power, Tschichold and his wife were arrested. The Soviet posters found in his apartment during his arrest put him under scrutiny, based on the suspicion of his involvement with communists. Secret State Police of Nazis, The Gestapo, seized all of his books. Nonetheless, he found an opportunity to escape from the reign of terror in Germany as a policeman got him and his family a ticket for Switzerland. Except from his brief visits to Britain in 1937 and late 1940s, he remained settled in Switzerland till the end of his days.

8 RESEARCH WHO IS JAN TSCHICHOLD? he New Typography In 1923, subsequent to his visit to the first Weimar Bauhaus exhibition, he converted to Modernist design principles. Tschichold soon became a strong advocate of Modernist design which he manifested through influential magazine supplement published in Two years later he held a personal exhibition showcasing Modernist design. Moreover, his magnum opus The new typography is testimonial of his support for Modernism. The book is considered a manifesto of modern design which reflects Tschichold s opinion of application of different typefaces. He condemned all typefaces in his work, except sans-serif or more commonly known as Grotesk in Germany. He codified several of Modernist design rules and approved non-centered designs. He emphasized on the use of standardized paper sizes for all printed matter. He also explained the effective use of different sizes and weights of type in order to easily convey information. In addition to that Tschichold wrote a series of practical manuals on the principles of Modernist typography. Those had a great influence on printers and ordinary workers in Germany. During his stay in England in late 1940s, he was requested by Penguin Books to redesign their paperbacks, thus he supervised the redesign of 500 books. Furthermore, Jan Tschichold wrote a guideline based on typographic and composition instructions for editors and compositors at Penguin, the Penguin Composition Rules.

9 RESEARCH :: CLASSIC TYPOGRAPHY BEFORE THE NEW TYPOGRAPHY CALLIGRAPHIC Letters associated with the art of calligraphy and the fonts developed from their production can be classified as calligraphic. Calligraphic letters can be, although do not have to be, classified as Chancery, Etruscan or Uncial. Chancery letters have slightly sloping narrow letters and were influential in the development of serif italics. Etruscan faces do not have lowercase letters and are based on an early form of Roman calligraphy in which the brush was held at a steep angle. The Celtic style, Uncial letters are created from holding the brush at an almost horizontal angle. There is only one case in Uncial designs, although they did become the basis for the development of the roman lower case. BLACKLETTER Blackletter typefaces are a script style of calligraphy that were popularized in Germany, although they were used all over Europe from the middle ages through the Renaissance. A highly ornamental style of typgraphy, different styles are often associated with the different regions in which they were developed and used. The main classifications include Textura, Schwabacher, Cursiva and Fraktur. Textura is the most closely related to the calligraphic style and often includes a large number of ligatures. Schwabacher typefaces have a simplified, rounded stroke and several of their lowercase letters, including 'o', are often analogous forms. Cursiva, as the name suggests, is closely related to cursive letters and can be recognized by the more frequent presence of descenders and looped ascenders. Fraktur is the most common form of Blackletter and is characterized by broken strokes. SERIF Serifed typefaces were popular much earlier than sans-serif typefaces and include semi-structural details on many of the letters. People often refer to them as feet, although that is in no way a proper anatomical term when referring to typography. Their are many different classifications for serifed typefaces, often named for their origins, including Grecian, Latin, Scotch, Scotch Modern, French Old Style, Spanish Old Style, Clarendon and Tuscan. Some of these classifications can also be placed into broader classifications of typography including the styles below. OLD STYLE The Old Style or Humanist serif typefaces developed in the 15th and 16th centuries and are characterized by a low contrast in stroke weight and angled serifs. Example: Garamond. TRANSITIONAL The bridge for the gap between Old Style and Modern serifed typefaces, Transitional type has a more vertical axis and sharper serifs than humanist forms. Example: Baskerville.

10 RESEARCH :: CLASSIC TYPOGRAPHY BEFORE THE NEW TYPOGRAPHY - The Bauhaus created a viable modern movement including architecture, product design, and visual communications. The Bauhaus brought design forward as a vehicle for social change. They had profound effects on the future of education in both the fine and applied arts. Much of the progress and innovation in typography in the 20th century came about as a result of the modern art movements and the Bauhaus. Jan Tischichold brought these principles to everyday practice and use. He evangelized these approaches to printers, typesetters and designers. in 1923, he attended the Bauhaus Exhibition at Weimar and was greatly impressed. Jan Tishcichold applied the experience he received at the 1923 exhibition to his own design. He was influenced by both the Bauhaus and the Russian constructivists.

11 RESEARCH :: CLASSIC TYPOGRAPHY BEFORE THE NEW TYPOGRAPHY - Jan Tishcichold applied the experience he received at the 1923 exhibition to his own design. He was influenced by both the Bauhaus and the Russian constructivists. In October of 1925 Jan Tishcichold produced a supplement to the Tyoegraphische Mitteilungen called elementare typographie. His insert was highly influencial to the print industry that up until this time still held symmetrical medieval models as a standard. Elementrare typography demonstrated asymmetrical layout. Tischichold s book Die Neue Typographie advocated new ideas. He sought to start a clean style based on asymmetrical typography that was more expressive. Typography was to deliver the message in the shortest and most efficient manner. He rejected decoration for rational design planned for communication. He argued that a dymanic force should be present in each design. He declared that type should be elementary forms without embellishment. The san serif fonts were declared the modern type. Designs were constructed on an underlying horizontal and vertical structure. Space was given a new role as interval and structural element. Rules, bars, and boxes were often used for emphasis. The precision of photography was preferred over illustration. The new typography was to develop form from the functions of the text.

12 SUB QUESTION RESEARCH HOW IS THE NEW TYPOGRAPHY STILL INFLUENCING MODERN DESIGN? Solji Kim assignment at Hanyang uni To get a clear answer to this question, I interviewed students who are studying design as well as designers in the present design field. Many Asian student who are studying design, me included, said they could know about <the New Typography> theoretically as they learned about history of typography at university or though the book. For example, Some of the Students including me learned the practical design application like Jan Tschichold and modern typography in their university lesson. We have been learned the design work seed to look like his work is Good design. This made student easily follow and influenced him. As for me, it made me and natually affected by his work

13 SUB QUESTION RESEARCH HOW IS THE NEW TYPOGRAPHY STILL INFLUENCING MODERN DESIGN? But there were students who don t know about him (also the New Typography). I began to wonder how they can be influenced by him despite not knowing about his work. To resolve this curiosity, I researched graphic posters and prints of typography that can be seen on representative design website these days by students studying visual design. Because I thought if the design work that has already been affected by him can be seen by students, that s why <the New Typography> can be effective in influencing on today design field. :: AWWWARD Awwward is a web people can easily find web design reference. I thought web design is the combination of typography, graphic, illustraton, photography and other design manuals.

14 SUB QUESTION RESEARCH :: PINTEREST Pinterest is a web and mobile application company that operates a photo sharing website. Registration is required for use. :: DESIGNINSPERATION

15 SUB QUESTION RESEARCH :: TYPOGRAPHY POSTER :: Conclusion As what I said, I were able to discover several features at this design site from the new typography. i thought This is why his work still affects many student and designer. that s why <the New Typography> still can be effective in influencing on today design field.

16 SUB QUESTION RESEARCH WHAT ARE SOME EXAMPLES OF HIS WORK THAT WE CAN SEE IN DAILY LIFE? We consciously and unconsciously can see his work in daily life. To answer this question, I took the photos of the posters, pamphlets and signs in the street that seem to be affected by his rule. These are the pictures I took in Paris, London, Frankfurt, Amsterdam I could easily find the features influenced by The New Typography.

17 SUB QUESTION RESEARCH WHAT ARE SOME EXAMPLES OF HIS WORK THAT WE CAN SEE IN DAILY LIFE? We consciously and unconsciously can see his work in daily life. To answer this question, I took the photos of the posters, pamphlets and signs in the street that seem to be affected by his rule. These are the pictures I took in Paris, London, Frankfurt, Amsterdam I could easily find the features influenced by The New Typography.

18 SUB QUESTION RESEARCH WHAT HAS BEEN THE IMPACT OF JAN TSCHICHOLD ON MODERN DESIGNERS IN DIFFERENT COUNTRIES AROUND THE WORLD? I interviewed designers who are currently working in South Korea and USA who had inspiration by Jan Tschilhold through and online social networks. I also tried to interview Dutch designers through the website bno. Unfortunately they didn t know about him well. According to the interview with these designers, I found they have different perspectives and thoughts depending on their attitude of him. I was really interesting that the idea what they have was expressed in their work. Basically, I asked them a description of one of their design work and What was influenced by him :: A MARTA FERREIRA - PROFESSIONAL DESIGNER IN UNITED STATES OF AMERICA. Project name: A book on books The book as an object that arrises passions and fear. As a book lover myself, I wondered what the ideal book was. For me, the ideal book had to unite beautiful, well thought out form, with content that makes you think or has the inexplicable ability to transport you to other lives. So this is a book that explores form and shape, presenting compelling words that express the strong relationship of man and the book-object. The different content is presented in different visual styles, different page sizes and colours in order to represent the awesome variety that is the literary world. I would like to say this different content is presented in different visual styles was influenced by Jan Tchichold.

19 SUB QUESTION RESEARCH :: DANIELLE WILLIAMS - PROFESSIONAL DESIGNER IN UNITED STATES OF AMERICA. Project name: The Printer's Terms The Printer's Terms was a small book created by Rudolf Hostettler and Jan Tschichold and lists 1,361 common printer s phrases as a dictionary/glossary meant for everyday use in a typographic workshop. Words are displayed in five languages: English, German, French, Italian and Dutch. With these variables I used 5 spreads to evolve on the display of the same exact phrases and explore how added variables (different type families/sizes, colors and shapes) could be handled in a thoughtful manner. This booklet will be used as a hand out for an exhibition of the original Printer's Terms. The concept focuses on the em quad: the block of square metal that a cast letter would sit on in letterpress. Throughout the book the em quad evolves and combines with rules to create patterns that equally reflect the changes in the text positions. The poster is screen printed with gold and black ink. Printer s Terms was the book what Jan Tshichold edited. I refered to details of his work. Especially I was fascinated by the way he sketched.

20 SUB QUESTION RESEARCH :: CHANGBONG HEO - PROFESSIONAL TYPOGRAPHER IN SOUTH KOREA? Tschihold is my rold model. Although he was born in 1902, his work that he wrote as a designer and some of his writings gave me new inspiration me who are currently working on present design field. After entering the visual design department, I was interested in typography as I learning about Jan Tschihold at school. So I would like to recommend you reading typography books and design magazines is really important if you are going to be a modern graphic designer. You have to learn how they think and how they have built their own design work. And I was interested by his typography that a great work was made with only black and white. But it doesn t mean I have to follow his work. I have desire to pursue feel free design. when I was working on Hangeul (Korean Alphabet) typography, I designed Hangeul though the process of disassembling and integrating images, forms, and formative structures freely unlike how Jan Tschichold. Also when I does my own work, I focus on the formative beauty rather than the readability of typography. I enjoy the exciting work that is out of design rule something like new typography. l would like to design without interference of grid or format. I have a flexible attitude toward other s perspectives and criticism. But also I don t like person who tend to judge and make decision this is useless!. I thought once designer has defined the concept, then there shouldn t be restriction for expression. Designer can design freely without deeply meaning or socially frame. Tschihold is still my rold model. I would like to resemble only his passion for typography.

21 SUB QUESTION RESEARCH :: BYEUNGJO KIM - PROFESSIONAL TYPOGRAPHER AND GRAPHIC DESIGNER IN SOUTH KOREA Project name: LetterSeed Vol. 5 Some may think it is a mere wordplay and labeling something beyond typography as typography. However, graphic designers nowadays work in overlapping disciplines of design, art, literature, architecture and music. The typography here (of today) surely differers from the typography there (of yesterday). While the concept of typography has been expanding, Tschichold s standing has been solid. From the 1980s until now his text has been consumed as a typographic textbook, and it would continue to be so in the future. It is surprising considering the fast (or at least so seeming) changes taking place within the graphic design domain. Recently in Korea, Tschichold s texts were retranslated, and contextually related texts were also imported or translated. Those recent expositions of Tschichold give a certain sense of unfamiliarity. The unfamiliarity suggests that my knowledge and senses on him may have been distorted. I have a desire to discourse on Tschichold in Korea, and spots distortions and gaps in them in order to escape from the illusion of Tschichold. It could be called a work of demystification or disillusionment, and as a result we can look back into the discussions that took place in the last 30 years in the design field in this country. This may not only apply to Tschichold and the Korean design field. His works and texts will forever remain classics representing the era, and we will still continue to read him. But perhaps we could create a work while using him as an apparatus for introspection rather than a goal to follow, because we cannot stay here forever. I would like to look back into that work one day, and I wish to find this very publication somewhere in the opening passage of that work.

22 SUB QUESTION RESEARCH :: WHAT DO YOU THINK ARE THE DIFFERENCES BETWEEN JAN TSCHICHOLD S WORK THAT OF MODERN DESIGNERS, AND WHY DO YOU THINK THIS? Depending on the needs of the era, Techniques and methods to deal with typography is still changing. <The new typography> which have the practical manuals on principles of modernist typhography is also changing with another new principles what people want. Not only that, each designers can be influenced by him, but it is applied differently at the same time. After Preparing and investigating this seminar, Jan Tschichold made me have questions, Why still Jan Tschichold? Why only talk about him? I had doubts and tedium just like Byeungjo Kim asked me. CONCOUSION Now I believe contemporary typography can be designed without reading Tschichold. Our works and writings are not behind his times. Tschichold s achievement is truly stupendous. His works and texts will forever remain classics representing the era, and we will still continue to read him. But perhaps we could create a work while using him as an apparatus for introspection rather than a goal to follow, because we cannot stay here forever. I would like to look back into that work one day, and I wish to find different way in order to escape from the illusion of Tschichold. So I should say we treat him and his work as a CMD student, not a destination we should go, just keep in mind we should think this could be a point of departure, we can be able to design in many kind of way.

23 REFERENCE BOOK Kim Hyun-mi (2000), New typography revolutionist Jan Tschihold, Design House. Christopher Burke, The Active Book: Jan Chi-hold and the New Typography, Acting, Workroom, Jong, Cees de (2010), Jan Tschihold: The Typography of the Typography of His Life, Works and Heritage, Translated by Song Sung-jae, Seoul Tschichold, Jan (2006), Typography Design by Jan Tschihold, Ahn Sang Soo, An Greifics Company. WEB AG's ARTIN Design Blog (2011) Jan Tschichold Avant-Garde Typography Retrieved from gamswen/jan-tschichold-and-avant-garde-typography/ Jay kim (2016) Sabon 폰트계의목화씨 Retrieved from 민구홍 (2013) 펭귄북스 ' 사랑한다면이 ' 산맥 ' 을거쳐가야죠 Retrieved from html?no= 윙 (2011) Penguein books Retrieved from Georgina Parfitt (2015) A Brief History of Penguin Design: Part Two Retrieved from a-brief-history-of-penguin-design-part-two/

24 APPENDIX EXAMPLES OF HIS WORK