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Topic: Jan Tschichold

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	.jan tschichold (Site not responding. Last check: 2007-11-03)
		Jan Tschichold studied calligraphy and typography at the Leipzig Academy for Graphic Arts and Book Trades under Walter Tiemann, who introduced him to the ideology of classic typography.
		Jan Tschichold was to become the chief propagandist for the New Typography, although he was never fully associated with them.
		Tschichold brought a radically new attitude to typography and printing, proposing an asymmetric approach to letterform design as it was dynamic and not static and was ‘in harmony with the age’.
	www.frostdigital.com /content/tschichold.html (442 words)

	Jan Tschichold, A Life in Typography
		Jan Tschichold was one of the most influential typographers this century.
		Ruari McLean identifies the two unique contributions which Tschichold made to the history and practice of typography: firstly, to show how the ideas of modernism could be applied to day-to-day typography, and secondly, to show the importance of getting all the details right — with elegance.
		He has translated Tschichold's Asymmetric Typography and The New Typography, and is the author of numerous books on design and typography, including an anthology Typographers on Type (Lund Humphries, 1995).
	www.lundhumphries.com /pages/single/2140.html (168 words)

	The New Typography - book review
		Jan Tschichold [pronounced 'Chick-old'] was a typographist and graphic designer whose life and work straddled two eras.
		Tschichold looks at typography in a historical context, then explores the developments in twentieth century art and the rise of modernism.
		Tschichold is also part-responsible for the Modernist ditching of capital letters in favour of all lower-case.
	www.mantex.co.uk /reviews/tsch-01.htm (634 words)

	creativepro.com - dot-font: The Next Sabon (Site not responding. Last check: 2007-11-03)
		The constraints that Tschichold had to work within, in designing Sabon, didn't bother him (it was "no effort at all," he claimed, to make it work with three different systems), but they certainly influenced the shape of the type.
		Tschichold finessed the latter problem by creating an italic "f" with a straight tail, rather than the long curving tail that was common (see Figure 1).
		Tschichold did design a bold (though no bold italic), but Porchez has added not only a bold (with italic) but a demi, an extra bold, and a fl as well (see Figure 3 and 4).
	www.creativepro.com /story/feature/19000.html (1637 words)

	Books at Iowa 60 - Kay Amert (Site not responding. Last check: 2007-11-03)
		Tschichold noted of the typographer's side of this contract that "the art of good typography is eminently logical.
		Jan Tschichold characterized this as the "unalterable effect" produced by perfect book typography.
		For Tschichold, "perfect typography depends on perfect harmony between all of its elements." To achieve it, typographers must discover the "affinities" which are "hidden in any and all parts" of a typographical page.
	www.lib.uiowa.edu /spec-coll/bai/amert2.htm (1561 words)

	creativepro.com - dot-font: True to Type, the Autobiography (Site not responding. Last check: 2007-11-03)
		And McLean's 1975 book, "Jan Tschichold: Typographer," is the best introduction to the work and thinking of one of the 20th century's most fascinating and infuriating typographers.
		McLean later translated Tschichold's early seminal work, "Die neue Typographie," which had been largely responsible for spreading the ideas of the revolutionary New Typography in Germany in the 1920s.
		Tschichold had wanted to make the English edition a new version, adapted to a British and American audience and including his own insights and second thoughts on the fiery pronouncements of his younger self.
	www.creativepro.com /story/feature/12541.html?origin=story (1386 words)

	CityWide Printing - Printing History (Site not responding. Last check: 2007-11-03)
		JAN TSCHICHOLD had been expected to follow in the career of his father, a letter painter.
		After the Second World War, Tschichold moved to England, where he single-handedly redesigned the entire Penguin paperback library, probably the first application of fine typography to the paperback book and certainly (at over six hundred volumes) one of the most ambitious design projects in the history of type.
		WILLIAM CASLON was born in the village of Cradley, in Worcestershire, England.
	mycwp.com /home/content/view/7/27 (1048 words)

	DesignWritings
		Actually, the post is mostly about Penguin Books, but he spends some time discussing Tschichold's transformation of Penguin Books and how his standards guidelines set the tone for the printing of their books for decades.
		Information about Tschichold is not abundant on the web and much of it is from font houses because of the fact that Tschichold designed the face Sabon.
		Jan Tschichold: A Life in Typography by Ruari McLean.
	www.emdezine.com /designwritings/archives/jan_tschichold.shtml (306 words)

	typomancy » Blog Archive » Why do we need Sabon? (Site not responding. Last check: 2007-11-03)
		Tschichold was commissioned to design Sabon by Linotype, Monotype, and the foundry Stempel AG.
		It maintains Tschichold’s sturdiness, and Porchez tried to remain faithful to the various influences he detected in Tschichold’s work, but much of the distinctiveness of the original face was a result of its constraints, many of which Porchez ironed out in an effort to smooth out the awkward bits remaining in Sabon.
		However, Tschichold was a professor at a “competitor” school in Munich that was run by Paul Renner.
	www.typomancy.org /2005/03/17/why-do-we-need-sabon (1825 words)

	Linotype Font Feature - Jan Tschichold
		Jan Tschichold is one of the most outstanding and influential typographers of the 20th century.
		Jan Tschichold was born in Leipzig on April 2, 1902, the first son of the script writer Franz Tschichold and his wife Maria, neé Zapff.
		The World’s Fair for Books and Graphics in 1914 was an important experience for the young man. In his free time he studied the books of Edward Johnston (Calligraphy, Ornamental Script and Applied Script) and Rudolf von Larisch (Study in Ornamental Writing) and created a number of calligraphic writings.
	www.linotype.com /12590/childhood-doc.html (634 words)

	Penguin Books / Designing Modern Britain - Design Museum Exhibition: Book Publisher (1935-) - Design/Designer ...
		Under Jan Tschichold in the 1940s and Germano Facetti in the 1960s, Penguin became an exemplar of book design.
		Tschichold was equally rigorous in the design of special sets of books published by Penguin.
		Among Tschichold’s innovations was to persuade Allen Lane to allow Penguin to take advantage of recent advances in printing by using illustration on the jackets of particular sets of books such as the Shakespeare Series.
	www.designmuseum.org /design/index.php?id=101 (1805 words)

	YouWorkForThem \| Monographs: Jan Tschichold: A Life in Typography
		Description: German designer Jan Tschichold revolutionized modern typography through his bold, asymmetrical designs and use of sanserif typography, inspired by the Bauhaus.
		Jan Tschichold: A Life in Typography offers a concise biography of Tschichold, accompanied by numerous examples of his vast body of work.
		Jan Middendorp presents a comprehensive overview of today's and yesterday's type design in the Netherlands, from its origins to the groundbreaking punchcutters, type designers and lettering artists fr...
	youworkforthem.com /product.php?sku=P0076 (362 words)

	The grotesk as universal font (Screenfont.ca)
		Jan Tschichold (1902–1974) was the son of a Leipzig signwriter and lettering artist.
		The second turning point was Tschichold’s conversion to modernism, which he dated from his visit to the exhibition of the Weimar Bauhaus in the summer of 1923.
		Tschichold was at least aware that readability was a prime issue, if one that was complicated by the other issues with which he was then concerned.
	screenfont.ca /fonts/today/interim/grotesk (781 words)

	SALE PRICE The New Typography
		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.
		Jan Tschichold (1902-1974) worked as a typographer and teacher in Germany, Switzerland, and England.
		Ruari McLean, a Scottish typographer and scholar, is the author of Jan Tschichold: Typographer (1975).
	www.ucpress.edu /books/pages/testdiscount.html (362 words)

	ITC Ironwork font - preview & download
		The inspiration for Serge Pichii’s ITC Ironwork was a piece of decorative lettering done in the early 1920s by Jan Tschichold.
		Tschichold interlocked a series of rough-edged sans-serif letterforms and embellished them sparingly with decorative elements.
		Although the curlicues on the ends of some letters are present in the Tschichold lettering~ Pichii extended this trait to the lowercase~ using as models photographs he’d taken of iron scrollwork in Vienna and Prague.
	www.searchfreefonts.com /font/itc-ironwork.htm (205 words)

	[No title]
		To my knowledge this theme has first been covered by Jan Tschichold in his famous article of 1962: ``Willk\"urfreie Ma\ss{}verh\"altnisse der Buchseite und des Satzspiegels'' (look for references at the end).
		This style option implements his design (I'm no designer\,\dots) If you are interested in typography and you do not know anything of Jan Tschichold, you should---he and Stanley Morrison were probably the two most important typographers in this century.
		He received as one of very few Europeans the gold medal of the American Institute of Graphic Arts, was a honorary member of the Double Crown Club, London, and of the Soci\'et\'e typographique de France.
	www.math.utah.edu /tex-archive/macros/plain/contrib/chbar/a4-9.doc (1080 words)

	Amazon.com: Bird in hand: during his reign at Penguin Books, Jan Tschichold ruled the composition room with an iron ... (Site not responding. Last check: 2007-11-03)
		Amazon.com: Bird in hand: during his reign at Penguin Books, Jan Tschichold ruled the composition room with an iron fist, a rubber stamp, and a demand for exemplary classical design.
		Bird in hand: during his reign at Penguin Books, Jan Tschichold ruled the composition room with an iron fist, a rubber stamp, and a demand for exemplary classical design.
		When Penguin Books publisher Allen Lane brought in Jan Tschichold to be the company's typographer, he may not have expected that his new hire would set the standard for successful book design in Britain over the course of the next three years.
	www.amazon.com /exec/obidos/tg/detail/-/B000ALUWJI?v=glance (357 words)

	Metroactive News & Issues \| Postmodern Type
		Amidst this proliferation, it is sometimes easy to forget that some of the most compelling design has been created with a single, thoughtfully used classic typeface.
		Tschichold derided the typographical nationalism exemplified in the popularity of medieval fl Teutonic alphabets and advocated the use of clean, universal typefaces.
		The use of high technology to mimic low tech pre-digital type is a consistent Letterror prank that brings the paradox of the digital age into focus.
	www.metroactive.com /papers/metro/08.08.96/cover/fonts3-9632.html (447 words)

	Spacing
		Jan Tschichold, one of the great typographers of the twentieth century, published in 1952 some examples of good spacing and bad (Meisterbuch der Schrift, Otto Maier Verlag, Ravensburg).
		Tschichold examples were meant to “serve not just the moment,” as he put it, but provide a lasting standard for lettering and typography.
		In 1950, two years before Tschichold’s treatise, the Stempel typefoundry released Hermann Zapf's Palatino.
	briem.ismennt.is /2/2.3.5a/2.3.5.01.spacing.htm (144 words)

	Amazon.com: The New Typography: A Handbook for Modern Designers: Books: Jan Tschichold,Ruari McLean (Site not responding. Last check: 2007-11-03)
		Tschichold's style is based on "the spirit of our age" somehow revealed to him alone, and on Germanic philosophical absolutes.
		It is ironic that, during the cultural purges of pre-WWII Germany, Tschichold was among those rounded up for politically incorrect artwork - another absolute in conflict with his own.
		Happily, Tschichold was able to emigrate to Switzerland before war broke out.
	www.amazon.com /exec/obidos/tg/detail/-/0520071476?v=glance (1786 words)

	[No title]
		To my knowledge this theme %%% has first been covered by Jan Tschichold in his famous article of %%% 1962: ``Willk\"urfreie Ma\ss{}verh\"altnisse der Buchseite und %%% des Satzspiegels'' (look for references at the end).
		This style %%% option implements his design (I'm no designer\,\dots) %%% If you are interested in typography and you do not know anything of %%% Jan Tschichold, you should---he and Stanley Morrison were probably the %%% two most important typographers in this century.
		He received as one %%% of very few Europeans the gold medal of the American Institute of %%% Graphic Arts, was a honorary member of the Double Crown Club, London, %%% and of the Soci\'et\'e typographique de France.
	www.ualberta.ca /~neitsch/sunsite.ualberta.ca/Mirror/CTAN/macros/latex209/contrib/chbars/a4-9.sty (1241 words)

	Angelynn Grant Design :: Writing
		His intention was "...to state clearly the principles of typography, and to demand the creation of a contemporary style." That style was to comprise standardized paper sizes, clearer and cleaner orthography (removing the excessive use of uppercase in written German), use of sans serif typefaces and the integration of photography into typographic design.
		This reproduction maintains Tschichold's original design and typography: justified text with no paragraph indentation, a contrast of light weight type peppered with shots of extra bold for emphasis, the original bibliography, the addresses of like-minded artists ("El Lissitzky, Moskau, Strominka 26, Quartier 50") and illustrations he felt explicated his principles.
		Tschichold chose 148 reproductions from the work of contemporaries and a few are accompanied by Tschichold's clear warnings with captions shou ting in extra bold, "Wrong!" and detailing how they err.
	angelynngrant.com /writing.html (6055 words)

	Jan Tschichold: A Princeton Architectural Press Publication [1568980841] - $21.95 : Chronicle Books (Site not responding. Last check: 2007-11-03)
		German type and book designer Jan Tschichold (1902Ð1974) revolutionized modern typography through his bold, asymmetrical designs and use of sanserif typography, both inspired by the work of the Bauhaus.
		He proclaimed his new design philosophy through a series of articles and books, including Die neue Typographie, published in Berlin in 1928.
		It serves as an introduction to Tschichold for those who are unfamiliar with his influential style, yet for the experienced designer it is an excellent collection of the wide range of his designs.
	www.chroniclebooks.com /site/catalog/index.php?main_page=pubs_product_book_info&products_id=707&store=&zenid=71a46ce87e2222aceffac32fecdd6391 (200 words)

	NP Architecture/Design Books (Site not responding. Last check: 2007-11-03)
		Treasury of Alphabets and Lettering is a classic source book of the most beautiful type and letters of all time selected by Jan Tschichold, internationally renowned typographer and master of lettering.
		Tschichold discusses lettering as a work of art, good and bad letters, older and recent letter forms, the use of capital and lower-case letters, word spacing, line spacing, the selection of appropriate letter styles, and the layout of groups of letters and signs.
		Every alphabet was specially arranged by Tschichold, and forms a well-balanced graphic design.
	www.wwnorton.com /npb/nparch/701972.html (176 words)

	Jan Tschichold - Font Designer of Sabon (Site not responding. Last check: 2007-11-03)
		Jan Tschichold — born 2.4.1902 in Leipzig, Germany, died 11.8.1974 in Locarno, Switzerland — typographer, calligrapher, author, teacher.
		1925: publication of Tschichold’s special issue of "Typographische Mitteilungen" magazine, entitled "elementare typographie".
		In honour to the 100th birthday of Jan Tschichold
	www.linotype.com /7-609-7/jantschichold.html (520 words)

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