- Series: Weimar and Now: German Cultural Criticism (Book 8)
- Paperback: 236 pages
- Publisher: University of California Press (November 30, 1998)
- Language: English
- ISBN-10: 0520071476
- ISBN-13: 978-0520071476
- Product Dimensions: 8.3 x 5.8 x 0.6 inches
- Shipping Weight: 1 pounds (View shipping rates and policies)
- Average Customer Review: 14 customer reviews
- Amazon Best Sellers Rank: #1,714,067 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
The New Typography (Weimar and Now: German Cultural Criticism)
Use the Amazon App to scan ISBNs and compare prices.
There is a newer edition of this item:
The Amazon Book Review
Author interviews, book reviews, editors picks, and more. Read it now
Frequently bought together
Customers who bought this item also bought
From Library Journal
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.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
"A comprehensive, practical handbook to guide the typographer. . . . The tone, here, is that of a master craftsman; practical and informative, it neither avoids detail nor loses sight of broad principles."--Paddy Cramsie, "Times Literary Supplement
Discover books for all types of engineers, auto enthusiasts, and much more. Learn more
Top customer reviews
Ironically the book itself is poorly designed (I got the paperback). The glossy paper makes reading slightly difficult. The glossy full black page will chronicle your fingerprints. It leaves a few examples of compositions with white negative space to float on the pages' own white space. Images also show through the page adding grey tones to the images. Unnecessary vertical black rules randomly appear in the margins.
5 stars for spreading knowledge to help change the design world. 2 stars for the book's physical presentation.
First, the messages for typographers. The book itself is part of that message: sanserif body text, bright white paper, and geometric red and black graphics. Tschichold uses a few conventions that I quite like. Footnotes are indicated inline and at the end of the page by a heavy black mark. At first, it looked like a blot on the gray of the body type. After seeing it a few times, though, I realized that the heavy mark was very helpful for recovering my place in the reading after my eyes moved away to read the footnote. Emphasis is shown with heavy rules in the outer margins around text, much the way I mark books myself. My only complaint about the book as a whole has to do with indistinct paragraph breaks - there is clue from indentation or line spacing, so it is actually possible to miss a pragraph break altogether.
The second half of the book shows a number of examples, good, bad, and (today) historically interesting. Almost all examples are bold red and black - the first two colors to be used up in most sets of crayons. It is easy to forget that these examples were often designed for letterpress, since photocompostion barely existed as we understand the term. Despite Tschichold's passion for modernity, the style now looks as dated as Bauhaus, streamlined locomotives, and Art Deco.
The first half of the book is for typographers, but also for any modern student of polemic. Not many people have strong feelings about typography, so the ranting can be considered by itself. 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. He had a long and influential career, and later regretted the strident excesses of youth that this book captures.
This is useful as a guide to typographic style, but beginners will probably get more from modern texts. It gives a very informative view of the DIN standards for paper and business correspondence. Most of all, however, it captures a time and a mentality that no longer exist, but that guided one strong school of typographic practice for over 80 years.