By Alexander Ross Charchar Jan Tschichold left an impression upon the world of graphic design and typography that few could compete against.
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License Getty record Introduction German avant-garde typographer developed an early interest in calligraphy through his father, who was a sign painter and designer. He studied at the Leipzig Academy of Book Design from to under Hermann Delitsch, and subsequently went to work in the design department of Insel Verlag.
Everyone has a favorite designer or two. As a new designer, I was a fan of Jan Tschichold. Tschichold’s bold typography combined with artful, asymmetric, and diagonal layouts, was immediately inspiring. Lorsque paraît cet ouvrage, Tschichold a affiné et approfondi les concepts de la nouvelle typographie, et maîtrise à ce titre les facteurs de contraste et de dynamisme dans la composition typographique, ce qui explique le niveau de détail de ses prescriptions. Design de livros é a arte de incorporar o conteúdo, estilo, formato, design, e a sequência de vários componentes de um livro em um todo coerente.. A produção gráfica de livros pode ser considerada uma das primeiras atividades na História do Design Gráfico. Livros eram, no início, patrocinados pela Igreja Católica, e seus primeiros produtores foram .
Exposure to Russian constructivism and the Bauhaus formed his early typographic style and theories. In he published his first treatise, "Elementare Typographie," in which he examined the typographic work of El Lissitzky. Tschichold defined the elements of asymmetrical typography, and advocated for the use of sans-serif typefaces.
In he published "Die Neue Typographie, " further refining his theories. In he was expelled from Germany under the Nazis for creating "un-German" typography. He relocated to Switzerland where he continued to design and teach.
In his third book, "Typographische Gestaltung," he turns away from "the new typography" as he comes to associate its rigid style with totalitarianism in general. At this point his work begins to resemble the classical and symmetric style that he had criticized in his youth.
He remained in Switzerland for the rest of his life, except for three years in London where he redesigned the Penguin paperback line.ヤン・チヒョルトJan Tschichold： 年4月2日、ライプツィヒでヨハネス・チヒョルト生まれる。ライプツィヒ美術書籍工芸アカデミー、ドレスデン美術工芸学校、および特待生としてヴァルター・ティーマンに学ぶ。 21～23年.
Jan Tschichold (2 April Leipzig, Germany – 11 August Locarno, Switzerland) (born as Johannes Tzschichhold, also Iwan Tschichold, Ivan Tschichold) was a calligrapher, typographer and book designer. He played a significant role in the development of graphic design in the 20th century – first, by developing and promoting .
‘Hedone’ is an optical typeface family supports different sizes. Designed first two weights for the Display and Professional size and created the appropriate medium.
Trzecia pozycja z serii „Estetyka Książki” porusza znaczenie formy i treści książki w komunikacji. Friedrich Forssman, jeden z najwybitniejszych niemieckich projektantów książek, relacjonuje swoje przemyślenia na temat projektowania książek: typowych i niezwykłych, prostych i skomplikowanych.
FF Mark. Ze new Germanetric sans by Hannes von Döhren, Christoph Koeberlin and the FontFont Type Department. Strong, simple, bold and created with utmost consideration and precision. True to geometric tradition, contemporary for today’s needs.
Jan Tschichold was the one to explain the early 19th century's movement for clarity/purity of form and type (as practiced at the Bauhaus) to a wider audience of printers, typesetters and designers (who previously were entangled in the imitation of traditional styles of the past).