The New Typography: A Handbook for Modern Designers

by Jan Tschichold, Ruari McLean (Translator), Robin Kinross (Introduction)

Since its initial publication in Berlin in 1928, Jan Tschichold's The New Typography has been recognized as the definitive treatise on book and graphic design in the machine age. At once a key theoretical document of Central European modernism between the world wars and an invaluable source of working principles for the practicing designer, this classic work enjoys the reputation among book artists that Le Corbusier's Toward a New Architecture has long held among architects.

The book's legendary renown is certain to increase with the long-overdue appearance of this first English translation, published in a form that reflects Tschichold's original typography and design. Ranging from theoretical discussions of typography in the age of photography and mechanical standardization to practical considerations in the design of business forms, The New Typography remains essential reading for designers, art historians, and all those concerned with the evolution of visual communication in the twentieth century.

Genres: Design, Nonfiction, Art Design, Art, Reference, History, Textbooks

280 pages, Hardcover

First published January 1, 1928

Reviews

[Erik]

Like many folks who have read this book, I was simultaneously impressed with the intellect and repulsed by the arrogance Mr. Tschichold. This book is enlightening and maddeningly annoying. Nonetheless, it's essential reading to anyone who studies graphic design.

Feel free to skip the DIN charts in the back. Yeesh.

[Azamat]

Что можно сказать? Книга написана в далекие 20-е годы, поэтому обладает как минусами, так и плюсами.

Плохого в ней то, что знания не достаточно прикладные. Т.е. прочитав книгу, вы не станете внезапно разбираться в типографике и шрифтах, потому что Чихольд много пишет о том, что гротеск заруливает и не нужно делать симметричный дизайн. Но в наше время, технологии ушли далеко вперед, поэтому нам нет смысла ограничивать себя одной рубленой гарнитурой.

Из хорошего можно узнать как зарождался практичный подход к типографике, когда на фоне развития абстракционизма в живописи все меньшее значение стали приобретать орнамент и всяческая мишура свойственная 19 веку и большее значение начинает получать, вы не поверите, юзабилити. Чихольд оперирует другими выражениями, но говорит о том, что в наши годы (и это начало прошлого века) жизнь так стремительна и так много информации, что типографику нужно делать удобной, наглядной, эффективной и проч. в отличие от старой типографики, когда наборщики копировали дизайн библейских трудов, созданный еще 300 лет назад.

Т.е. в этой книге мы видим начало современного дизайна, когда промышленная революция, равноправие, научный прогресс, глобализация и прочее стали влиять на оформление газет, рекламы и т.п. с чем сталкивается в своей работе современный дизайнер. Это интересно.

[Missy J]

Between 2.5 and 3 stars.

Out of curiosity I picked up this book. What is typography? Jan Tschichold published this book in 1920 (almost a hundred years ago!) during a time when most of the newspapers, business letters, business cards, basically any printed form of text was wild and not standardized. For instance, the first letter of headlines would be ridiculously decorated and centered (instead of placed to the left). Business cards would appear in all types of different sizes instead of the now common A7 size. Posters would include over five different font sizes and fonts. So Tschichold advocated for standardization, functionality & clarity (instead of artistic decorations), bringing costs down. He openly criticizes the old ways and pushes for clear breaks from the past. He also supported photography as a means of illustration (to fulfill demands of readers that only want to skim texts). As I read this, I wondered, what would Tschichold think of typography, advertisement, magazines, marketing, photoshop, and social media today?

[Widgets &]

A bit dogmatic, but helpful in gaining insight into the mindset of what led to Modernist typography.

[cantread26]

Kyle from work gave me this to read because I had told him about my book a week project and I am glad because this is clearly a CRITICAL MOMENT in graphic design that I’ve never really gave much consideration to before but yeah true there must have been this volatile period of transition between the old gothic aesthetic and this new sleek look we describe as “modern”. I will say this was very tough for me to get through Tschichold definitely has some valuable things to say but he’s very arrogant about his often extremely strict guidelines and SO redundant. Sans serif! Left-Align! Standardize! I get it! I think it’s tough to judge because I’m reading this nearly 100 years after it was written so times and norms are completely different now, but what I loved about this was the way it took me back on the timeline of graphic design and demonstrated what a “design movement” looks like and also made me realize that “good design” is completely relative. That said, there were many examples in the book that still today so much later I found very impressive. This book is definitely intended (especially if you’re reading it at this point) for a super niche audience, so would only recommend to someone that’s really jazzed on the history of typography and how graphic design came to be the way it is today. Otherwise, I would say don’t endure the struggle.

[Tommy Shimko]

Amazing read, and inspired me to pursue design with more rigor and focus- But it's important to look at books Jan Tschichold wrote after this- He flipped his view on many of the things he was adamant about here, and chalks it up partially to a subconscious affect of Nazi Totalitarianism growing up in Germany.
So interesting to see a designer shift perspectives and reflect, and I wish it happened more in design today. It's a good reminder that the craft of design is an unfolding experiment that's often a response to & echo of new and changing mediums & the cultural Zeitgeist, not a rigid science with rules set in stone. Unfortunately I worry that many designers reading this book in school and otherwise will consider this a stone tablet rather than a flag in time for a great designer.

[Cari Shaw]

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[Dmitry]

If you work with fonts, then I highly recommend this book. One of the must read books for designers, artists and other art people. Later, the author rethink his opinion, but there are still useful points in the book.

***

Если вы работаете со шрифтами, то я настоятельно рекомендую эту книгу. Один из обязательных к прочтению случаев для художников, дизайнеров и прочих творческих личностей. Позднее автор переосмыслит свои взгляды по поводу высказанных в этой книге мыслей, но здесь есть чему поучиться.

[Mauricio Villamayor]

Quite an interesting book, more so if you work in publishing and are able to understand Tschichold's influence in today's publications.
Recommended to book designers and any people interested in the history of graphic design and typography. I would even say an essensial book to understand where a lot of today's standards of design comes from

[Michael Lloyd]

3.5

[Sean]

The definitive manifesto for visual communication in the machine age, encapsulating the art-historical moment when subjective romanticism gave way to streamlined objectivity, as befitting a new world in which only the collective union of "precision and soul" was then appropriate.

[Design|declan|hackett]

If you have any interest in typography or graphic design, then this is one book you must read.

Tschoichold is the originator of almost all the principles of modern type layout, heavily influenced by the Constructivist art of Kandinsky and Moholy-Nagy. The famed "Swiss Movement" merely implemented the guidelines he sets out in this book. Any yet, he was largely written out of typographic history, because he later recanted and returned to more traditional centered layouts and serif fonts. He described his early writings as too authoritarian, and given his experiences in Nazi Germany, this sat uncomfortably with him.

The book is possibly the only early treatise on typography designed for practical use, not theoretical debate. The book's examples are the normal "stock-in" trade of any printer or designer; letterheads, business cards, posters, all rendered in standard sans-serif fonts (usually Akzidenz Grotesk). The "before and after" format shows you just how radical a change he proposed, and his examples would still be perfectly usable 80 years later.

[Chris]

This book is an interesting read from a design history standpoint. It was originally written in 1928, by a 26 year old designer who abandoned many of the edicts within the following 5 years. However, some of his ideas still hold true - we should indeed design for today's technology rather than trying to force all that we can do today into yesterday's rigid confines. Tschichold argued in favor of standardized paper sizes and using photos in design. It's mind-boggling in our time to think those things were resisted when they were new. It was fun to read Tschichold's early ideas on book design, knowing that he would go on to change book design as we still know it today through his work at Penguin.

[Tony]

The 1928 classic on modern typography is worth reading for those who are interested in the historical jump from classic book typography and advertising typography to how we think about type today. Much of the book still hold relevance for typographers today, but the last part is a little dated. It is more of a manifesto to printers to standardize page and paper sizes which has already happened.

03.16.08

[Anton]

Сильно чувствуется, так сказать, дух времени. Здесь у Чихольда много перегибов (никакой симметрии, прописные буквы не нужны, всё надо стандартизовать), но он и другие воины того периода очень много смысла внесли в печатное дело.

Хорошо рассказано, откуда появился конструктивизм и как менялись течения до этого.

[Erdem Tasdelen]

The guy's a great graphic designer but I couldn't help laughing all the way through. I know I'm supposed to see this in its historical context but it's just absolutely ridiculous, and him being the most arrogant person ever doesn't help at all.

[M]

Three stars for being a classic, and a stepping stone to many (better) works that came afterwards. One star for Tschichold's contributions to the design cosmos. Minus 1 star for it being dated, arrogant, and sometimes full of shit--pretty, well-designed shit is still shit.

[Chris Beiser]

Clearly dated. Tschichold's acting as a partisan here (he later said he regretted his vehemence), and it doesn't age well, but an interesting typographic curiosity. That said, it's not bad, and there's some valuable tidbits. Really more like 3.5 stars.

[Ninakix]

Interesting explanation of how early modern typographers were thinking about how to use type. Mirrors a lot of architectural thinking of the time, I think. In general, this reminds me a lot of flat design, and this question of what "natural" means in new mediums.

[Rosebud]

Thanks for Sabon, Jan.


" We do not need pretentious books for the wealthy we need more really well made ordinary books. "- Jan Tschichold

[Carlos]

This book is to a typographer, what Corbu's Towards A New Architecture is to an architect.

[Kim M-M]

From my schooling, this is one of the best books ever made about graphic design. He is one of the masters of the art, and anything you can glean from his book will benefit your design sense.

[Paul]

Beautiful pictures.

[David]

Recommended. Didn't read everything in detail, but bold design, extremely helpful in understanding principles of Tschichold's typography.

[Gerardo Vargas]

Very good work. I wish I had this back when I made my BFA.

[Josh Stabler]

Groundbreaking for the time period.
I didn't sense quite as much arrogance from the author as some reviewers.
The author believed in his own ideas (at least at the time the book was written).

[Mats]

Дизайн "до компьютерной эры".

[Alex Prozorov]

Любопытно почитать о взгляде на типографику из середины прошлого века. Практическая польза в современных реалиях сомнительная.

[Patrik Berg]

My first real dive into the theory of this practice.