The New Typography

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

Overview

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. First published in English in 1995, with an excellent introduction by Robin Kinross, this new edition includes a foreword by Rich Hendel, who considers current thinking about Tschichold's life and work.

Product Details

ISBN-13:	9780520250123
Publisher:	University of California Press
Publication date:	09/01/2006
Series:	Weimar and Now: German Cultural Criticism Ser. , #8
Edition description:	First Edition
Pages:	288
Product dimensions:	5.75(w) x 8.25(h) x 0.70(d)

About the Author

Jan Tschichold (1902–1974) worked as a typographer and teacher in Germany, Switzerland, and England. He became internationally known in 1925 with the publication of Elementary Typography and oversaw the typographic reform of Penguin Books. Ruari McLean, a Scottish typographer and scholar, is the author of Jan Tschichold: Typographer. Robin Kinross is a London typographer. Richard Hendel is Design and Production Manager at University of North Carolina Press.

Table of Contents

Translator's Foreword—Ruari McLean
Introduction to the English-Language Edition—Robin Kinross
Foreword to the 2006 Edition—Richard Hendel

The New Typography

What People are Saying About This

From the Publisher

"The New Typography is an outstanding source of inspiration, which . . . deserves every inch of its legendary status."—Computer Arts Projects

Editorial Reviews

A splendid examination of classical Modernist design. . . . The New Typography is an outstanding source of inspiration, which . . . deserves every inch of its legendary status.

Computer Arts Projects

"Considered the modernist era's definitive treatise on typographic design, it [The New Typography] offers not only an overview of the principles of commercial and book design but also a historical—and far from ideologically neutral—discussion of "old" (1450-1914) and "new" (since 1914) typography. The book's exceptional fame is due to its own typographic achievement, as well as to its commitment to the politics of modern typography, defined as both the mirror and the condition of a modern social democracy in the machine age. . . . a book that can and should retain a strong appeal for a 21st-century readership."

Leonardo

"Considered the modernist era's definitive treatise on typographic design, it [The New Typography] offers not only an overview of the principles of commercial and book design but also a historical—and far from ideologically neutral—discussion of "old" (1450-1914) and "new" (since 1914) typography. The book's exceptional fame is due to its own typographic achievement, as well as to its commitment to the politics of modern typography, defined as both the mirror and the condition of a modern social democracy in the machine age. . . . a book that can and should retain a strong appeal for a 21st-century readership."

Leonardo

"The New Typography is an outstanding source of inspiration, which . . . deserves every inch of its legendary status."--Computer Arts Projects

From the Publisher

The publication in English of this seminal work on 20th-century typography is long overdue. First published in 1928 in Germany and out of print for many years, this text has been recognized as one of the most important statements of modern typographical design. This curious and fascinating work ranges through theories of social criticism, art history, architecture, and the emerging importance of photography as it sets forth very definite guidelines regarding the design of printed materials. The final sections are indeed practical guidelines, down to sheet sizes and appropriate mixes of type, for the day-to-day use of working designers and printers. In addition to presenting a clear and faithful translation from the German, the new edition takes special care with design and appearance, closely duplicating the type and layout used in the original. A clear introduction places the work in the context of such movements as the Bauhaus, Constructivism in Art, Marxism in political and economic thought, and National Socialism. Essential for libraries with any special interest in the graphic arts and worthwhile for all libraries collecting in the area of design, it should also have a place in all larger art history collections.-Mark Woodhouse, Elmira Coll. Lib., N.Y.

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