Born April 2nd 1902, Tschichold was the son of a signwriter, and he was trained in calligraphy. He was different from almost all other noted typographers of the time as a result of his training, since they had trained in architecture or the fine arts. His parents who feared that he didn’t want to be an artist concluded that being an illustration teacher would be better than him being an unfruitful artist. Though this job only lasted 3 years. In March 1933, Tschichold and his wife were arrested. During the arrest, Soviet posters were found in his flat, casting him under suspicion of collaboration with communists. After six weeks a policeman somehow found him tickets for Switzerland, and he and his family managed to escape Nazi Germany in August 1933. Apart from two longer stays in England in 1937 at the invitation of the Penrose Annual, and 1947–1949 at the invitation of Ruari McLean, the British typographer, with whom he worked on the design of Penguin Books, Tschichold lived in Switzerland for the rest of his life.
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Jan
Tschichold died in the hospital at Locarno in 1974.
Tschichold studied book design at Leizpig Academy. During his life many influenced
Tschihold. He was influenced by Rudolph Koch’s font Maximillian Grotesk. He also collected the works of script master Pierre Simon Fournier. The typefaces designed by Tschihold include
Transit (1931), Saskia (1931/1932), Zeus (1931), and Sabon (1966/1967) after Jacques Sabon. Tschihold’s most notable work Die Neue Typographie, “embraced and defined modernist typographic ideas”(Hamamoto). When he wrote this he set forth rules for the practices relating to modern type usage (Design is History).It also shows how Tschihold was all about sans serif type for quite a bit of his life. Tschihold’s works show his attention to detail and emphasis on communication (Hamamoto). Also present in Die Neue Typographie is the use of a column grid as well as a modular grid. Tschihold’s design for Laster Der Menschheit, shows his support toward Moholy-Nagy’s typographic approach. It also shows he believed that a sans serif was the only typeface compatible with typography. This work doesn’t seem to follow a grid however the sans serif typeface complements the photo’s color scheme. Tschihold’s design for Napoleon, show a good use of hierarchy. The first thing you see is the big red circle, which leads you to see the napoleon figure in the center. Then you see the name Napoleon stretched across the cover at an angle. Then you see the red arrow, which is pointing to the publishing info. The circle, arrow, and info appear to follow a column grid while the napoleon stretched across doesn’t follow a grid. Tschihold’s design for Typographische Mitteilungen, shows a good use of negative a space. This design has a simplistic look to it, but then again that’s why it works so well. I like how the text and line use in this piece seems to frame the text inside. Tschihold’s design for Konstruktivisten, also shows a good sense of communication through hierarchy. This is done with the use of the yellow circle surrounding the title. This design is also nice because of the use of white space. This design to is simplistic and follows a
Jan
Tschichold died in the hospital at Locarno in 1974.
Tschichold studied book design at Leizpig Academy. During his life many influenced
Tschihold. He was influenced by Rudolph Koch’s font Maximillian Grotesk. He also collected the works of script master Pierre Simon Fournier. The typefaces designed by Tschihold include
Transit (1931), Saskia (1931/1932), Zeus (1931), and Sabon (1966/1967) after Jacques Sabon. Tschihold’s most notable work Die Neue Typographie, “embraced and defined modernist typographic ideas”(Hamamoto). When he wrote this he set forth rules for the practices relating to modern type usage (Design is History).It also shows how Tschihold was all about sans serif type for quite a bit of his life. Tschihold’s works show his attention to detail and emphasis on communication (Hamamoto). Also present in Die Neue Typographie is the use of a column grid as well as a modular grid. Tschihold’s design for Laster Der Menschheit, shows his support toward Moholy-Nagy’s typographic approach. It also shows he believed that a sans serif was the only typeface compatible with typography. This work doesn’t seem to follow a grid however the sans serif typeface complements the photo’s color scheme. Tschihold’s design for Napoleon, show a good use of hierarchy. The first thing you see is the big red circle, which leads you to see the napoleon figure in the center. Then you see the name Napoleon stretched across the cover at an angle. Then you see the red arrow, which is pointing to the publishing info. The circle, arrow, and info appear to follow a column grid while the napoleon stretched across doesn’t follow a grid. Tschihold’s design for Typographische Mitteilungen, shows a good use of negative a space. This design has a simplistic look to it, but then again that’s why it works so well. I like how the text and line use in this piece seems to frame the text inside. Tschihold’s design for Konstruktivisten, also shows a good sense of communication through hierarchy. This is done with the use of the yellow circle surrounding the title. This design is also nice because of the use of white space. This design to is simplistic and follows a