Jan Tschichold is from Leipzig Germany and is a typography and author. Born in 1902, Tschichold trained as a calligrapher and designer at the Leipzig Academy of Graphic Arts and Book Production from the ages of 17 and 19 then began freelancing as a lettering artist and designer. He was hired at a printing firm to draw page layouts for the typesetters. While working there, he visited a Bauhaus exhibition that drew him into the new Modernist movement. A couple of years later, Tschichold joined Bauhaus and the Modernist movement where he experimented with sans-serif typefaces, and geometric and asymmetrical compositions which were completely different from traditional ideas like serif typefaces and symmetrical compositions. “His poster for the Warsaw publisher Philobiblon shows a brand new Tschichold, one who placed more emphasis on arrangement than on artistry. The typefaces were sans serifs with no relation at all to handwriting.”
Tschichold was strongly influenced by Bauhaus by also by László Moholy-Nagy and El Lissitzk, modern painters. Their work …show more content…
This group made the principles that are known as The New Typography and focused on asymmetric balance of elements, content designed by hierarchy, intentional white space utilization, and san serif typography.
As noted before, the book The New Typography was published a year later in 1928. The first section of the book had the history and roots of the New Typography. Tschichold, influenced by Moholy-Nagy, also agreed with Moholy-Nagy on his typophoto approach: “san serifs is the only face that properly complimented photography.” Tschichold was also about using lower case letters (mainly because Germany uses a lot of capitalization so it was a big deal to him). The second section talked about type layout. He included details such as paper size, folds, proportions and typeface combinations for different types of things (e.g. business
Tschichold was strongly influenced by Bauhaus by also by László Moholy-Nagy and El Lissitzk, modern painters. Their work …show more content…
This group made the principles that are known as The New Typography and focused on asymmetric balance of elements, content designed by hierarchy, intentional white space utilization, and san serif typography.
As noted before, the book The New Typography was published a year later in 1928. The first section of the book had the history and roots of the New Typography. Tschichold, influenced by Moholy-Nagy, also agreed with Moholy-Nagy on his typophoto approach: “san serifs is the only face that properly complimented photography.” Tschichold was also about using lower case letters (mainly because Germany uses a lot of capitalization so it was a big deal to him). The second section talked about type layout. He included details such as paper size, folds, proportions and typeface combinations for different types of things (e.g. business