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The New Typography [Paperback]

Jan Tschichold , Richard Hendel , Robin Kinross , Ruari McLean
4.7 out of 5 stars  See all reviews (9 customer reviews)
Price: CDN$ 42.11 & FREE Shipping. Details
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Book Description

Sept. 1 2006 Weimar and Now: German Cultural Criticism (Book 8)
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.

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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 the Hardcover edition.

Review

The New Typography is an outstanding source of inspiration, which . . . deserves every inch of its legendary status.”
(Computer Arts Projects 2010-06-30)

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The revolutionary technical discoveries of the late 19th and early 20th centuries have been only slowly followed by man's ability to make use of his new opportunities and develop them into a new pattern of life. Read the first page
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1 of 1 people found the following review helpful
4.0 out of 5 stars What you are looking for and a great print Oct. 8 2011
Format:Paperback
If you are looking into purchasing this book, you know what you are looking at. There is no need for me to praise the quality of the subject matter, the examples used, the author/designer, or the way it is presented. I will say that this is a solid copy, the printing is pretty decent and the size makes it easy to carry around and keep on your desk. While it is not the first book I go to these days, it is a must have for anyone working with type and graphic design. What excuse do you have NOT to own it?
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1 of 1 people found the following review helpful
5.0 out of 5 stars A founding document of modern history May 16 2004
Format:Paperback
Typographic history, at least. This book was first published in 1928, and seems to have been the founding manifesto of the "Swiss school" of typography. This is a must-read for all serious students of type, and for a few others as well.
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.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Good Historical Value, But No Applicable Lessons July 6 2002
Format:Paperback
As other reviewers have written before me, this book surely has an historical value to it. It allows the reader to have a quick glance to a particular historical moment of typography in pre-WWII Germany, written in a Marxist tone. Also, the layout of the book is a beauty in itself, with its glossy paper and sans-serif Futura font. But that is pretty much it, unless you want to read it because you are a student in History of Typography. Do not expect to learn basic or advanced typographic elements here. If you want that, read "The Elements of Typographic Style" by Robert Bringhurst instead.
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5.0 out of 5 stars The original typograpghy Book April 26 2012
By Test
Format:Paperback
Originally purchased this in college and is still front and center on my bookshelf. I must read for any one serious about typography.
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4.0 out of 5 stars Best for those interested in pre WWII type history March 12 2002
By byrner
Format:Paperback
I was expecting something more contemporary when bought this book. Nevertheless, I enjoyed the book and have been glad I bought it. It is true, the author overstates his points on what constitutes good vs. bad typography, even going so far as to make philosphical "natural law" arguments in favor of good type! The social scientist in me enjoyed the Marxist overtones to his diatribe, and the artist in me enjoyed the period type of his Weimar Republic era work. While I won't suggest that one couldn't learn a thing or two from his principals of the "new typography", to my mind this is a book for art/social historians.
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