Typography DESTRUCTION OF 08 SYNTAX- IMAGINATION WITHOUT STRINGS by Filippo Tomasso Marinetti DISCOVERING TYPOGRAPHY

NEW LIFE IN PRINT 18 by Jan Tschichold

THE CRYSTAL GOBLET 26 by Beatrice Warde

TOWARDS UNIVERSAL 32 TYPE by Herbert Bayer Edited and designed by Maria Belen Scaglia

Created for Typographic Communicatiion Course Emily Carr University of Art and Design, spring semester 2012 Original Print, only edition

Articles provided by Cleste Martin WHO IS FILIPPO TOMMASO MARINETTI, AND At a time when graphic design had yet WHY HE ‘S WORK to emerge as awfully defined commercial IS SO IMPORTANT. practice, the writings and experiments of the Italian Futurist Filippo Tommaso Marinetti (1876-1944) embodied a vigorous alternative set of possibilities for graphic communication. As a poet reacting against his Symbolist pre- decessors, Marinetti’s primary concern was with the free expres- sive potential of language, and his typographic researches were all conducted to this end (though the approach would later be applied to advertising by Fortunato Depero and others). Mari- netti was the self-publicizing author of the first Futurist hymn to speed, dynamism, war, and the end of tradition–published in Le Figaro newspaper in 1909—and between 1912 and 1914 he articulated his radical aesthetic agenda in a series of manifestos. This extract, with its section on “typographical revolution” is the most explicit in typographic terms. In the poems collected in his book Les mots en liberté futuristes (1919), Marinetti collaged letterforms and fragments into a state of violent agitation, with words moving at the velocity of the trains, planes, waves, and atoms that inspired the Futurists. Verbal language is dematerial- ized, even as its material aspects are elevated, while the sensibil- ity guiding these paper-bound explosions is cybernetic.

—RICK POYNOR

Les Mots De Liberte Futuristes. 1919. Photograph. Jan Tschichold: Mas- ter Typographer His Life, Work. Themes and Hudson. 25. Print.Filippo Tomasso Marinetti; example of futurists typography. 04

- FILIPPO TOMASSO MARINETTI TOMASSO - FILIPPO

DESTRUCTION DESTRUCTION OF SYNTAX IMAGINATION STRINGS WITHOUT Words in Freedom Death in Words

Casting aside every stupid formula and Fistfuls of essential words in no conven- Free verse once had countless reasons truth only a superior, more concentrated Analogy is nothing more than the all the confused verbalisms of the profes- tional order. Sole preoccupation of the for existing but now is destined to be and intense life than what we live from deep love that assembles distant, seem- sors, I now declare that lyricism is the narrator, to render every vibration of his replaced by words-in-freedom. day today, like the latter it is composed ingly diverse and hostile things. An exquisite faculty of intoxicating oneself being. The evolution of poetry and human of hyper-alive elements and moribund orchestral style, at once polychromatic, with life, of filling life with the inebria- If the mind of this gifted lyrical narra- sensibility has shown us the two incur- elements. polyphonic, and polymorphous, can tion of oneself. The faculty of changing tor is also populated by general ideas, he able defects of free verse. We ought not, therefore, to be too embrace the life of matter only by means into wine the muddy water of the life that will involuntarily bind up his sensations 1. Free verse fatally pushes the poet much preoccupied with these elements. of the most extensive analogies. swirls and engulfs us. The ability to color with the entire universe that he intuitive- towards facile sound effects, banal double But we should at all costs avoid rhetoric When, in my Battle of Tripoli, I com- the world with the unique colors of our ly knows. And in order to render the true meanings, monotonous cadences, a fool- and banalities telegraphically expressed. pared a trench bristling with bayonets to changeable selves. worth and dimensions of his lived life, he ish chiming, and an inevitable echo-play, By the imagination without strings I an orchestra, a machine gun to a femme Now suppose that a friend of yours will cast immense nets of analogy across internal and external. mean the absolute freedom of images or fatale, I intuitively introduced a large gifted with this faculty finds himself in a the world. In this way he will reveal the 2. Free verse artificially channels the analogies, expressed with unhampered part of the universe into a short episode zone of intense life (revolution, war, ship- analogical foundation of life, telegraphi- flow of lyric emotion between the high words and with no connecting strings of of African battle. wreck, earthquake, and so on) and starts cally, with the same economical speed walls of syntax and the weirs of gram- syntax and with no punctuation. right away to tell you his impressions. Do that the telegraph imposes on reporters mar. The free intuitive inspiration that Up to now writers have been restrict- ‘By the imagination you know what this lyric, excited friend and war correspondents in their swift addresses itself directly to the intuition ed to immediate analogies. For instance, without strings I mean of yours will instinctively do? reportings. This urgent laconism answers of the ideal reader finds itself imprisoned they have compared an animal with a the absolute freedom He will begin by brutally destroying not only to the la\vs of speed that govern and distributed like purified water for the man or with another animal, which is of images or analogies, the syntax of his speech. He wastes no us but also to the rapport of centuries be- nourishment of all fussy, restless intel- almost the same as a kind of photography. expressed with time in building sentences. Punctuation tween poet and audience. Between poet ligences. (They have compared, for example, a unhampered words and the right adjectives will mean noth- and audience, in fact, the same rapport When I speak of destroying the canals fox terrier to a very small thoroughbred. and with no connecting ing to him. He will despise subtleties and exists as between two old friends. They of syntax, I am neither categorical nor Others, more advanced, might compare strings of syntax and nuances of language. Breathlessly he will can make themselves understood with systematic. Traces of conventional syntax the same trembling fox terrier to a little with no punctuation’ assault your nerves with visual, auditory, half a word, a gesture, a glance. So the and even of true logical sentences will Morse Code machine. I, on the other olfactory sensations, just as they come poet’s imagination must weave together be found here and there in the words-in- hand, compare it with gurgling water. In to him. The rush of steam-emotion will distant things with no connecting strings, freedom of my unchained lyricism. This this there is an ever vaster gradation of burst the sentence’s steam pipe, the valves by means of essential free words. inequality in conciseness and freedom is analogies, there are ever deeper and more of punctuation, and the adjectival clamp. natural and inevitable. Since poetry is in solid affinities, however remote.) 1913 05 06

Semaphoric Adjective, Lighthouse-adjective or Death of the literary 1 atmosphere-adjective The infinitive Verb

Molecular life and material my techni- Everywhere we tend to suppress the Here, too, my pronouncements are not cal manifesto opposed the obsessive I qualifying adjective because it presup- categorical. I maintain, however, that in Carra, Carlo. Sintesi Futurista Della that up to now the poets have described, poses an arrest in intuition, too minute a violent and dynamic lyricism the infini- Guerra. 1915. Photograph. Avant- sung, analyzed, and vomited up. To rid a definition of the noun. None of this tive verb might well be indispensable. Garde Page Design 1900-1950. New ourselves of this obsessive I, we must is categorical. I speak of a tendency. We Round as a wheel, like a wheel adaptable York: Delano Greenidge Editions, 2002. abandon the habit of humanizing nature must make use of the adjective as little to every car in the train of analogies, it 108. Print. by attributing human passions and preoc- as possible and in a manner completely constitutes the very speed of the style. cupations to animals, plants, water, stone, different from its use hitherto. One The infinitive in itself denies the and clouds. Instead we should express the should treat adjectives like railway signals existence of the sentence and prevents infinite smallness that surrounds us, the of style, employ them to mark the tempo, the style from slowing and stopping at imperceptible, the invisible, the agitation the retards and pauses along the way. So, a definite point. While the infinitive With words with freedom we will have: of atoms, the Brownian movements, all too, with analogies. As many as twenty is round and as mobile as a wheel, the the passionate hypotheses and all the do- of these semaphoric adjectives might ac- other moods and tenses of the verb are Images are not flowers to be chosen + Condensed Metaphors mains explored by the high-powered mi- cumulate in this way. either triangular, square, or oval. and picked with parsimony, as Voltaire + Telegraphic images croscope. To explain: I want to introduce What I call a semaphoric adjective, Onomatopeia and mathematical said. They are the very lifeblood of po- + Maximum Vibrations the infinite molecular life into poetry not lighthouse-adjective, or atmosphere-ad- symbols etry. Poetry should be an uninterrupted + Nodes of thought as a scientific document but as an intui- jective is the adjective apart from nouns, When I said that we must spit on sequence of new images, or it is mere + Closed or open fans of movement tive element. It should mix, in the work isolated in parentheses. This makes it the Altar of Art, I incited the Futurists anemia and greensickness. + Compressed Analogies of art, with the infinitely great spectacles a kind of absolute noun, broader and to liberate lyricism from the solemn The broader their affinities, the + Color Balances and dramas, because this fusion consti- more powerful than the noun proper. atmosphere of compunction and longer will images keep their power to + Dimensions tutes the integral synthesis of life. The semaphoric adjective or lighthouse- incense that one normally calls by the amaze.(Technical Manifesto of Futurist + Weights To give some aid to the intuition of adjective, suspended on high in its name of Art with a capital A. Art with Literature) + Measures, and the speed of sensations. my ideal reader I use italics for all words- glassed-in parenthetical cage, throws its a capital A constitutes the clericalism of The imagination without strings, and + The plunge of the essential word into the in-freedom that express the infinitely far-reaching, probing light on everything the creative spirit. I used this approach to words-in-freedom, will bring us to the water of sensibility, minus the concentric small and the molecular life. around it. incite the Futurists to destroy and mock essence of material. As we discover new circles that the word produces. The profile of this adjective crum- the garlands, the palms, the aureoles, the analogies between distant and apparently + Restful moments of intuition bles, spreads abroad, illuminating, im- exquisite frames, the mantles and stoles, contrary things, we will endow them + Movements in two, three, four, five pregnating, and enveloping a whole zone the whole historical wardrobe and the with an ever more intimate value. Instead different rhythms. ‘I want to introduce of words-in-freedom. If, for instance, in of humanizing animals, vegetables, and + The nalytic,A exploratory the infinate an agglomerate of words-in-freedom de- minerals (an outmoded system) we will poles that sustain the bundle molecular life into scribing a sea voyage I place the following be able to animalize, vegetize, mineralize, of intuitive strings. poetry not as a semaphoric adjectives between parenthe- electrify, or liquefy our style, making it scientific document ses: (calm, blue, methodical, habitual) live the life of material. For example, to but as an intuitive not only the sea is calm, blue, methodical, represent the life of a blade of grass, I say, : element.’ habitual, but the ship, its machinery, the “Tomorrow I’ll be greener.” passengers. What I do and my very spirit are calm, blue, methodical, habitual. 07 08

Le Soir, Couchee Dans Son Lit, Elle Relisait La Lettre Cover of zang tumb tumb. 1914. Photo- De Son Artilleur Au Front { Evening, Lying on Her graph. Avant- Garde Page Design 1900- Ned, She Reread the Letter on Her Artillery Solier 1950. New York: Delano Greenidge at the Front}. 1919. Photograph. Avant- Garde Page Editions, 2002. 103. Print. Design 1900-1950. New York: Delano Greenidge Edi- tions, 2002. 105. Print.

romantic bric-a-brac that comprise a large time) to control the speed of the style. suggestive, exquisite adjective. I do not Let us suppose that the chain of picto- + In fact, the poets began by chan- This instinctive deformation of words part of all poetry up to now. I proposed These parentheses can even cut into a want to suggest an idea or a sensation rial sensations and analogies dominates neling their lyric intoxication into a series corresponds to our natural tendency instead a swift, brutal, and immediate word or an onomatopoetic harmony. with passéist airs and graces. Instead I the others. In this case it will be printed of equal breaths, with accents, echoes, towards onomatopoeia. It matters little if lyricism, a lyricism that must seem anti- Typographical revolution want to grasp them brutally and hurl in a heavier typeface than the second and assonances, or rhymes at pre-established the deformed word becomes ambiguous. poetic to all our predecessors, a telegraphic I initiate a typographical revolution them in the reader’s face. third lines (one of them containing, for intervals (traditional metric). Then the It will marry itself to the onomatopoetic lyricism with no taste of the book about it aimed at the bestial, nauseating idea of Moreover, I combat Mallarmé’s static ideal example, the chain of musical sensations poets varied these different measured harmonies, or the noise-summaries, but, rather, as much as possible of the taste the book of passéist and D’Annunzian with this typographical revolution that al- and analogies, the other the chain of breaths of their predecessors’ lungs with a and will permit us soon to reach the of life. Beyond that the bold introduction verse, on seventeenth-century handmade lows me to impress on the words (already olfactory sensations and analogies) certain freedom. onomatopoetic psychic harmony, the of onomatopoetic harmonies to render all paper bordered with helmets, Minervas, free, dynamic, and torpedo-like) every Given a page that contains many + Later the poets realized that the sonorous but abstract expression of an the sounds and noises of modern life, even Apollos, elaborate red initials, vegetables, velocity of the stars, the clouds, aeroplanes, bundles of sensations and analogies, each different moments of their lyric intoxica- emotion or a pure thought. But one may the most cacophonic. mythological missal ribbons, epigraphs, trains, waves, explosives, globules of sea of which is composed of three or four tion had to create breaths suited to the object that my words-in-freedom, my Onomatopoeia that vivifies lyricism and roman numerals. The book must be foam, molecules, and atoms. Thus I realize lines, the chain of pictorial sensations and most varied and surprising intervals, imagination without strings, demand spe- with crude and brutal elements of reality the Futurist expression of our Futurist the fourth principle of my First Futurist analogies (printed in boldface) will form with absolute freedom of accentuation. cial speakers if they are to be understood. was used in poetry (from Arisrophanes thought. Not only that. My revolution Manifesto (20 February 1909): “We af- the first line of the first bundle and will Thus they arrived at free verse, but they Although I do not care for the compre- to Pascoli) more or less timidly. We is aimed at the so-called typographical firm that the world’s beauty is enriched by continue (always in the same type) on the still preserved the syntactic order of the hension of the multitude, I will reply that Futurists initiate the constant, audacious harmony of the page, which is contrary a new beauty: the beauty of speed.” first line of all the other bundles. words, so that the lyric intoxication could the number of Futurist public speakers is use of onomatopoeia. This should not be to the flux and reflux, the leaps and Multilinear lyrisism The chain of musical sensations and flow down to the listeners by the logical increasing and that any admired tradi- systematic. For instance, my Adrianople bursts of style that run through the page. In addition, I have conceived mul- analogies, less important than the chain canal of syntax. tional poem, for that matter, requires a Siege-Orchestra and my Battle Weight On the same page, therefore, we will tilinear lyricism, with which I succeed of pictorial sensations and analogies + Today we no longer want the lyric special speaker if it is to be understood. + Smell required many onomatopoetic use three or four colors of ink, or even in reaching that lyric simultaneity that (first line) but more important than that intoxication to order the words syntacti- harmonies. Always with the aim of giving twenty different typefaces if necessary. obsessed the Futurist painters as well: of the olfactory sensations and analogies cally before launching them forth with the greatest number of vibrations and For example: italics for a series of similar multilinear lyricism by means of which I (third line), will be printed in smaller the breaths we have invented, and we a deeper synthesis of life, we abolish all or swift sensations, boldface for the am sure to achieve the most complex lyric type than that of the first line and larger have words-in-freedom. Moreover our stylistic bonds, all the bright buckles violent onomatopoeias, and so on. With simultaneities. than that of the third. Free expressive lyric intoxication should freely deform, with which the traditional poets link this typographical revolution and this On several parallel lines, the poet will orthography. refresh the words, cutting them short, images together in their prosody. Instead multicolored variety in the letters I mean throw out several chains of color, sound, The historical necessity of free expres- stretching them out, reinforcing the we employ the very brief or anonymous to redouble the expressive force of words. smell, noise, weight, thickness, analogy. sive orthography is demonstrated by the center or the extremities, augmenting or mathematical and musical symbols and I oppose the decorative, precious aes- One of these lines might, for instance, successive revolutions that have continu- diminishing the number of vowels and we put between parentheses indications thetic of Mallarmé and his search for the be olfactory, another musical, another ously freed the lyric powers of the human consonants. Thus we will have the new such as (fast) (faster) (slower) (two-beat rare word, the one indispensable, elegant, pictorial. race from shackles and rules. orthography that I call free expressive. First published in Lacerba (Florettee: 15 June 1913). WHO IS JAN TSCHICHOLD, AND WHY HE IS WORK IS SO Iin the October 1925 issue of Typographische IMPORTANT. Mitteilungen, a printer’s trade journal, guest editor Jan Tschichold (1902-1974) introduced interna- tional examples of elementare typographie (elementary typography), the experiments in reductive design practice by the European avant-garde (de Stijl, Constructivism, and the Bauhaus). Three years later, in 1928, he published his most influential book, Die neue Typographie (trans. The New Typography, 1995), a manual for German typographers on how to apply progressive, modern typographic concepts and thus reject antiquated ideas of composition. As codifier of the New Typography, Tschichold was in demand as both practitioner and commentator; he wrote a stream of books, pamphlets, and articles in Germany and abroad. His second book, Eine Stunde Druckgestaltung, included an introduction titled “Was ist und was will Die neue Typographie?” (“The new typography: What is it and what does it want?”); published as “New life in print” in the British journal Commercial Art, it is considered his most concise discussion on the subject. From 1930 to 1931, Commercial Art featured a series of articles by Tschichold that championed the adoption of asymmetry and sans-serif type.-

- STEVEN HELLER

Cover of Elementare Typographie. 1925. Photograph. Active Literature- Jan Tschichold and New Typography. London: Hyphen, 2007. 32. Print.Christopher Burke 12

‘The natural reaction to the inanition of prewar typography was the New Typography aiming above all at suppleness in its

- JAN TSCHICHOLD - JAN methods of design.’

NEW LIFE IN PRINT The general term “The New Typogra- was mainly influenced by traditional fulfillment of practical requirements- any literary admixtures. Typography sig- phy” embraces the activities of a few tendencies (limitation of incunabula). In and the visual design. (Visual design is nifies the visual (or aesthetic) ordering of of the younger typographers working the “Youth style” (Jugendstil, ca. 1900) a question of aesthetic; it is senseless to given elements (practical requirements, principally in Germany, the Soviet an attempt was made, without however attempt to avoid this expression). At this type, pictures, color, etc.), on a plane sur- Union, Holland, Czechoslovakia, and in any permanent success, to break away point typography differs not a little from face. The difference between painting and Switzerland and Hungary. The inception from traditional models, arriving at a architecture: it is possible (and it has typography exists only inasmuch as in the of the movement in Germany reaches misunderstood off-shoot of the Natural indeed been done by the best architects) former there is a free choice of elements back into the war period. The existence Form (Eckmann), finally to end in a that the form of a house may be deter- and the resulting design has no practical of the New Typography can be said to renovated Biedermeier type (Wieynck)- mined by its practical purpose, but in the purpose. Modern typography therefore be due to the personal achievements of in a word, in a new traditionalism. Then case of typography the aesthetic side in cannot be better occupied than with an its initiators; but to me it seems more the traditional models were rediscovered the question of design makes itself clearly intensive study of surface composition in accurate to regard these as the exponents and further imitated, albeit on this occa- manifest. This factor relates typography abstract painting. of the tendencies and practical needs of sion with better understanding (German fat mote neatly to the domain of “free” Let m examine the principles our time, a view which by no means at- Book Production 1911-14-20). The design on a plane surface (painting, followed by prewar typography. The tempts to underestimate their extraordi- reverence for traditional forms evoked by drawing) than to that of architectural art. majestic traditional model knew of only nary achievements and creative power or a more intensive research-work, resulted Both typography and the graphic arts are one scheme of design-the medial axis, the the inestimable value of their individual naturally in a limitation of creative free- always concerned with surface (plane) axial symmetry whose plainest example pioneer work. The movement would dom and forced it at length into inani- design. Here at this stage the reason why was the title page. The whole of typog- never have been so widespread, as in tion. Contrary to expectation, the most none other than the “new” painters, the raphy followed this scheme, whatever its Central Europe it incontestably is, had it important gain resulting from these years “abstract” painters, were destined to be immediate task might be, whether print- not served practical contemporary needs, was the rediscovery of original traditional the initiators of the New Typography ing a newspaper or a circular, letterheads and this it does so excellently because its faces (Walbaum, Unger, Didot, Bodoni, It is too wide a subject here to give or advertisements. primary aim is the unprejudiced adapta- Garamond, etc.), which for some time any account of the development of Only in the postwar period did the tion of typography to the purposes of the and with every justification have been abstract painting in this connection: dim realization dawn that all these were task in hand. preferred above their “precursors,” in real- visit any exhibition of their work and its quite different tasks, making entirely Here I think it necessary briefly ity their imitators. relation to the New Typography is im- different practical demands to be met to describe the state of prewar typo- The natural reaction to the inanition mediately discernible. This connection is creatively by the typographer. graphical development. Following upon of prewar typography was the New Ty- not, as many believe, a formalist one but A distinction between the New Ty- the stylistic confusion of the eighties, pography aiming above all at suppleness is genetic, a fact which abstract painters pography and the old can only be drawn England gave birth to the Arts and Craft in its methods of design. themselves have failed to understand. by means of a negation-the New Typog- movement (Morris 1892), which at Two aims can be discerned in all Abstract painting is the “unpurposing” raphy does not traditionalize. And at least from a typographical standpoint, typographical work: the recognition and relating of pure color and form without the door of the old, whose tendency was 1930 13 14

It prefers:

typefounder’s type to engraved type machine setting to hand setting machine-made paper to handmade paper machine presses to hand presses photographs to drawings Gahetze Frauen (hated Woman), Film Poster. 1927. photo process blocks to woodcuts Photograph. Jan Tschichold: Master Typographer His Life, standardization to individualization, etc. Work. Thames and Hudson. 215. Print.photographic print, letterpress, 1sheet,” Tsichold,” 119.5 x 83.3cm

purely traditional, the blame for this ne- by many who have not taken the trouble gation must be laid. But at the same time to understand its dynamic; only in time left: Magazine Cover. 1927. Photograph. Active Literature- Jan Tschichold the New Typography, became of its utter to come will the important pioneer work and New Typography. London: Hyphen, 2007. 102. Print.As reproduced by rejection of any formalist limitations, is done by those in the schools of Haus- Tschichold in Dienere Typographie and credited as ‘anonymous’. less antitraditional than nontraditional. mann, Heartfield, Gross, Hulsenbeck, right: Magazine Cover.1928. Photograph. Active Literature- Jan Tschichold For instance, to achieve typographi- and other Dadaists, be estimated at their and New Typography. London: Hyphen, 2007. 102 Print. Tschichold also cal design it is permissible to use every proper value. In any case, the handbills designed the interior text typography. traditional and nontraditional face, every and other publications of the Dada- manner of plane relationship and every ists (which date back into the wartime) direction of line. The sole aim is design: were the earliest documents of the New the creative harmonious ordering of the Typography. In 1922 the movement ‘For instance, to practical requirements. Therefore there spread; a few abstract painters began achieve typographical exist no limitations such as are imposed typographical experiments. A further design it is permissible by the positing of “permissible” and impulse was given by the author’s supple- to use every tradition- “forbidden” type conjunctions. The old, ment (“Elementare Typographie”) of the al and nontraditional unique aim of design to present a “rest- “Typographische Mitteilungen” (1925, face, every manner of ful” page is also reversed-we are at liberty out of print), in which the efforts made plane relationship and to present a designed “unrest.” and results achieved were demonstrated every direction of line.’ The swift tempo of modern busi- for the first time and which, published ness forces us further to a most accurate in an edition of 28,000, was broadcast to calculation of economic presentation. the printing world. The views of the New Typography had not only to find a Typography were the object of savage simpler and more easily realizable attack on all sides – today none but a constructive form (than the medial axis) few disgruntled die-hards ever think of but at the same time had to make this raising their voice against them. The New itself more visually attractive and varied Typography has won through. in design. Dadaism, through Marinetti Next to its nontraditional attitude in Italy with his “Les mots en liberte the New Typography is characterized by futuriste (1919)” and even earlier in Ger- its preference for new technical processes. many, gave the first impulse to the new development in typography. Even today Dadaism is looked upon as sheer idiocy 15 16

‘No modern typog- raphy, be it never so “beautiful,” is “new” if it sacrifices purpose to form. “Form” is the The Woman without a Name, Part II, Film Poster. 1927. result of work done and Photograph. Jan Tschichold: Master Typographer His Life, not the realization of an Work. Thames and Hudson. 188. Print.photographic print, external conception of and letterpress on white coated paper with silver paper glued form’ on , 1 sheet “Jan tschichold Planegg b . Mch “ 124 x 86.8cm

Further, the New Typography, by virtue of The present mass of printed matter, of rules, the visual agitated contrast of ness must be put to the credit of the its methods of design, embraces the whole circulars (a thing which closely affects the upper and lower case, thin and bold face, New Typographers. The white surface domain of printing and not merely the individual as he receives no small part of condensed and expanded type, gray and is not regarded as a passive background narrow field of pure type. Thus in them), renders the use of a standardized colored patches, slanting and horizontal, but as an active element. Among actual photography we possess an objective format necessary. compact, and loose groups of type, etc., are colors preference is given to red; as “The” means of reproducing objectivity and one Of the available standing types, the further means of design. They represent color it forms the most effective contrast which is comprehensible to all. Photogra- New Typography is most partial to the the “aesthetic” side of typographical com- to the normal black. The clear tones yel- phy because it is merely another method “grotesque” or “block” type, as this is position. Within the definite limits set by low and blue must also be given place in of visual speech is also regarded as type. simply formed and easy to read. The use practical requirement and logical structure the foreground of interest as these two The method of the New Typogra- of others, easily legible, or even traditional it is possible to tread various paths so that are not diffuse. Color is not used as a phy is based upon a clear realization of faces, in the new sense is quite admissible, from this point onwards the visual sen- decorative, “beautifying” ingredient, but purpose and the best means of achieving as they are “evaluated” one against the oth- sibilities of the typographer must be the the peculiar psychophysical properties of it. No modern typography, be it never so er, i.e., if the contrast between them be de- deciding factor. Thus it comes about that each are used as a means to heighten (or “beautiful,” is “new” if it sacrifices purpose signed. It is not therefore demanded that when several typographers are engaged tone down) effects. to form. “Form” is the result of work done everything be set in “grotesque,” although upon the one definite task, they each Illustration is supplied by photogra- and not the realization of an external in most cases this is indicated as most achieve a varying result, each of which may phy. By this means we are given the most conception of form. This fact has not been fitting. This face in its many variations have the same practical advantages. The objective rendering of the object. grasped by a whole troupe of pseudo- (thin, semi-bold, bold-faced, condensed, various men whose work is illustrated in Whether photography is in itself moderns. The chief demand of the New expanded, hair-spaced, etc.) is open to this article reveal tremendously varying an art or not an art need not concern Typography is the most ideal adaptation many effects which in juxtaposition are possibilities, in spite of the use of the us here; in conjunction with type and a to purpose. capable of rich and varied contrasts. same means and methods of design. Thus, plane surface it can be an art, as then it This makes the omission of any deco- Varying contrasts can be obtained by the means which are practically identical meet is purely a matter of values, of fitness in rative ingredients self-understood. Purpose introduction of antique faces (Egyptienne, with an extraordinary variety of usage. structural contrasts and relationships. further demands, and this cannot be too Walbaum, Garamond, Italic, etc.), and And these examples show that modern Many people incline to mistrust graphic strongly emphasized, really good legibility. there is no reason why these effects should methods, in spite of frequent surmise, illustrations; the old (often falsifying) Lines too narrowly or too widely spaced not be used in conjunction. Typescript is do not lead to monotony of expression, graphic illustrations no longer convince and set are difficult to read and therefore, also a very peculiar and effective face. but on the contrary to results of extreme us and their individualistic pose and if for no other reason, to be avoided. The Design is the most legible ordering dissimilarity and which above all possess mannerisms affect us unpleasantly. If proper use of the various new processes and the correct choice of type dimensions more originality than those of prewar it be desired to give several pictorial produces in nearly every case specific according to their value within the logical typography. impressions at the same time, to display forms and it is the typographer’s proper bounds of the text (which can be intensi- Color is just such another effective several contrasting things, montage must study to recognize these and adapt his fied or diminished). The conscious use element as type. In a certain sense the be called into service. For this the same design to them. Thus a good typographer of movement by means of type or now unprinted surface must be reckoned in general methods of design as in typog- without a most thorough knowledge of and again a thick or thin rule, or group with it and the discovery of its effective- raphy hold good; used in conjunction technical requirements is unthinkable. 17 18

Window Poster Promotting Der Sieg: Ein Buch Von Sport. (Victory: A Book about Sport). 1932. Photograph. Jan Tsch- ichold: Master Typographer His Life, Work. 121. Print.Photo offset 39.2 x 28 cm, design by Jan Tschichold

with type, the photograph becomes a 1. Freedom from tradition and 5. Exploitation of all means, which part of the whole and must be properly prejudice; overthrow of archaicism are or may be offered by present and evaluated in this connection so as to and academicism and the rejection of future technical discoveries; con- achieve harmonious design. A rare but decoration. No respect for academic and junction of illustration and text by very attractive photographic possibility traditional rules unsupported by visual typophoto. is the photogram of which an example reason and which are here lifeless form 6. The closest cooperation between is shown. A photogram is taken without (“the golden section,” unity of type). typographers and experts in the com- a camera simply by placing a more or 2. A choice of type, more perfect, posing room is desirable, just as the less transparent object on a sensitized me- more legible and cut with more geo- designing architect cooperates with the dium (paper, film or plates). Typography metric simplicity. Understanding of the constructional engineer, etc., special- + Photography is termed “Typophoto.” spirit of the types suitable and their me ization and division of labor are quite The extraordinary adaptability of in accord with the character of the text, as necessary as close contact. the New Typography to every conceiv- contrast of typographical material to There is nothing to be added to the able purpose renders it an important emphasize content. above beyond that the “golden section” phenomenon in contemporary life. Its 3. Constant appreciation of purpose· together with other exact proportional very attitude and position reveal that it and fulfillment of requirement. Differ- formulas are often far more effective is no mere fashion of a moment but is entiation in special aims. Advertisements than Ice relationships and should destined to form the basis of all further meant to be seen from a distance require therefore not suffer fundamental exclu- typographical progress. different treatment to a scientific work or sion. Karel Teige of Prague has formulated a volume of verse. the main characteristics of the New 4. Harmonious disposition of surface Typography as follows: and text in accordance with objective First published in Commercial Art “Constructivist Typography” (a syn- visual law; surveyable structure and geo- (London: July 1930). onym for the New Typography) means metric organization. and requires: WHO IS BEATRICE WARDE, AND WHY HE IS Pior to the turn of the century, practitioners often ar- WORK IS SO gued over the virtues of personal style versus neutral- IMPORTANT. ity, which was the underlying topic of a lecture given by Beatrice Warde (1900-1969) to the Society of Typographic De- signers in London (later published as an essay). Warde, who used the pen name Paul Beaujon, was a respected type historian and critic of the graphic arts industry. In 1927, on the strength Beaujon’s writing in the Fleuron, she was appointed editor of the Monotype Recorder, published in England by the Lanstone Monotype Company. “The Crystal Goblet” is Warde’s best-known (and most reprinted) essay on the clarity of type and design. In the introduction to her book of col- lected writing, The Crystal Goblet, she asserts that the essay contains ideas that must be “said over again in other terms to many…people who in the nature of their work have to deal with the putting of printed words on paper—and who, for one reason or another, are in danger of becoming as fascinated by the intricacies of its techniques as birds are supposed to be by the eye of a serpent.”

—STEVEN HELLER

Type Should Be like a Crystal Goblet. Photograph. Crystaline Typeface. Web. 10 Apr. 2012.

‘...but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.’

- WARDE BEATRICE

THE CRYSTAL GOBLET

Imagine that you have before you a flagon ing the type page? Again: the glass is col- altering men’s minds to the same extent, necessarily lead to. If books are printed ‘Type well used is of wine. You may choose your own favor- orless or at the most only faintly tinged in and that is the coherent expression of in order to be read, we must distinguish invisible as type, just ite vintage for this imaginary demonstra- the bowl, because the connoisseur judges thought. That is man’s chief miracle, readability from what the optician would as the perfect talk- tion, so that it be a deep shimmering wine partly by its color and is impatient unique to man. There is no ‘explanation’ call legibility. A page set in 14-pt. Bold ing voice is the unno- crimson in color. You have two goblets of anything that alters it. There are a whatever of the fact I can make arbitrary Sans is, according to the laboratory ticed vehicle for the before you. One is of solid gold, wrought thousand mannerisms in typography that sounds that will lead a total stranger to tests, more ‘legible’ than one set in 11 transmission of words, in the most exquisite patterns. The other are as impudent and arbitrary as putting think my own thought. It is sheer magic pt. Baskerville. A public speaker is more ideas’ is of crystal-clear glass, thin as a bubble, port in tumblers of red or green glass! that I should be able to hold a one-sided ‘audible’ in that sense when he bellows. and as transparent. Pour and drink; and When a goblet has a base that looks too conversation by means of black marks on But a good speaking voice is one which is according to your choice of goblet. I shall small for security, it does not matter how paper with an unknown person halfway inaudible as a voice. It is the transparent know whether or not you are a connois- cleverly it is weighted; you feel nervous across the world. Talking, broadcasting, goblet again! I need not warn you that seur of wine. For if you have no feelings lest it should tip over. There are ways of writing, and printing are all quite literally if you begin listening to the inflections about wine one way or the other, you will setting lines of type which may work well forms of thought transference, and it is and speaking rhythms of a voice from a want the sensation of drinking the stuff enough, and yet keep the reader subcon- this ability and eagerness to transfer and platform, you are falling asleep. When out of a vessel that may have cost thou- sciously worried by the fear of ‘doubling’ receive the contents of the mind that you listen to a song in a language you do sands of pounds; but if you are a member lines, reading three words as one, and so is almost alone responsible for human not understand, part of your mind actu- of that vanishing tribe, the amateurs of forth. civilization. ally does fall asleep, leaving your quite fine vintages, you will choose the crystal, Now the man who first chose glass If you agree with this, you will agree separate aesthetic sensibilities to enjoy because everything about it is calculated instead of clay or metal to hold his wine with my one main idea, i.e., that the most themselves unimpeded by your reasoning to reveal rather than to hide the beautiful was a ‘modernist’ in the sense in which important thing about printing is that faculties. The fine arts do that; but that thing which it was meant to contain. I am going to use that term. That is, the it conveys thought, ideas, images, from is not the purpose of printing. Type well Bear with me in this long-winded first thing he asked of this particular one mind to other minds. This statement used is invisible as type, just as the perfect and fragrant metaphor; for you will find object was not ‘How should it look?’ but is what you might call the front door of talking voice is the unnoticed vehicle for that almost all the virtues of the perfect ‘What must it do?’ and to that extent all the science of typography. Within lie the transmission of words, ideas. wineglass have a parallel in typography. good typography is modernist. hundreds of rooms; but unless you start We may say, therefore, that printing There is the long, thin stem that obviates Wine is so strange and potent a thing by assuming that printing is meant to may he delightful for many reasons, but fingerprints on the bowl. Why? Because that it has been used in the central ritual convey specific and coherent ideas, it is that it is important, first and foremost, as no cloud must come between your eyes of religion in one place and time, and very easy to find yourself in the wrong a means of doing something. That is why arid the fiery heart of the liquid. Are attacked by a virago with a hatchet in house altogether. it is mischievous to call any printed piece not the margins on book pages similarly another. There is only one thing in the Before asking what this statement a work of art, especially fine art: because meant to obviate the necessity of finger- world that is capable of stirring and leads to, let us see what it does not that would imply that its first purpose 1932 23 24

was to exist as an expression of beauty for that is why he is not so good a painter, its own sake and for the delectation of the and to my mind ten times better as a senses. Calligraphy can almost be con- typographer and type designer than the sidered a fine art nowadays, because its man who instinctively avoided anything primary economic and educational pur- as coherent as a reason. pose has been taken away; but printing I always suspect the typographic in English will not qualify as an art until enthusiast who takes a printed page from the present English language no longer a book and frames it to hang on the wall, conveys ideas to future generations, and for I believe that in order to gratify a sen- until printing itself hands its usefulness to sory delight he has mutilated something some yet unimagined successor. infinitely more important. I remember There is no end to the maze of prac- that T. M. Cleland, the famous American tices in typography, and this idea of print- typographer, once showed me a very ing as a conveyor is, at least in the minds beautiful layout for a Cadillac booklet of all the great typographers with whom I involving decorations in color. He did have had the privilege of talking, the one not have the actual text to work with in clue that can guide you through the maze. drawing up his specimen pages, so he had Without this essential humility of mind, set the lines in Latin. This was not only I have seen ardent designers go more for the reason that you will all think of, if hopelessly wrong, make more ludicrous you have seen the old typefoundries’ fa- mistakes out of an excessive enthusiasm, mous Quousque Tandem copy (i.e., that than I could have thought possible. And Latin has few descenders and thus gives with this clue, this purposiveness in the a remarkably even line). No, he told me back of your mind, it is possible to do that originally he had set up the dullest the most unheard-of things, and find ‘wording’ that he could find (I dare say it that they justify you triumphantly. It is was from Hansard), and yet he discov- not a waste of time to go to the simple ered that the man to whom he submitted fundamentals and reason from them. In it would start reading and making com- the flurry of your individual problems, I ments on the text. I made sonic remark think you will not mind spending half an on the mentality of Boards of Directors, hour on one broad and simple set of ideas but Mr. Cleland said, ‘No: you’re wrong; involving abstract principles. if the reader had not been practically I once was talking to a man who designed forced to read—if he had not seen those a very pleasing advertising type that words suddenly imbued with glamour undoubtedly all of you have used. I said and significance—then the layout would something about what artists think about have been a failure. Setting it in Italian or a certain problem, and he replied with a Latin is only an easy way of saying “This beautiful gesture: ‘Ah, madam, we artists is not the text as it will appear.”’ do not think—we feel!’ That same day I Let me start my specific conclusions quoted that remark to another designer of with book typography, because that con- my acquaintance, and he, being less poeti- tains all the fundamentals, and then go cally inclined, murmured: ‘I’m not feeling on to a few points about advertising. very well today, I think!’ He was right, he The book typographer has the job of did think; he was the thinking sort; and erecting a window between the reader 25 26

Warde, Beatrice. “The Crystal Goblet, Or Why Printing Should Be Invisible.” Graphic Design Theory (2009): 39–43. inside the room and that landscape with the psychology of the subconscious sage—that you are implanting a desire, self-conscious and maudlin experiments. which is the author’s words. He may put mind. This is that the mental eye focuses straight into the mind of the reader. There is nothing simple or dull in achiev- up a stained-glass window of marvelous through type and not upon it. The type It is tragically easy to throw away half ing the transparent page. Vulgar ostenta- beauty, but a failure as a window; that which, through any arbitrary warping of the reader-interest of an advertisement tion is twice as easy as discipline. When is, he may use some rich superb type like design or excess of ‘color,’ gets in the way by setting the simple and compelling you realize that ugly typography never text gothic that is something to he looked of the mental picture to be conveyed is a argument in a face that is uncomfortably effaces itself, you will be able to capture at, not through. Or he may work in what bad type. Our subconsciousness is always alien to the classic reasonableness of the beauty as the wise men capture happiness I call transparent or invisible typography. afraid of blunders (which illogical set- book-face. Get attention as you will by by aiming at something else. The ‘stunt I have a book at home, of which I have ting, tight spacing and too-wide unleaded your headline, and make any pretty type typographer’ learns the fickleness of rich no visual recollection whatever as far as lines can trick us into), of boredom, and pictures you like if you are sure that the men who hate to read. Not for them are its typography goes; when I think of it, of officiousness. The running headline copy is useless as a means of selling goods; long breaths held over serif and kern, all I see is the Three Musketeers and their that keeps shouting at us, the line that but if you are happy enough to have they will not appreciate your splitting comrades swaggering up and down the looks like one long word, the capitals really good copy to work with, I beg you of hair-spaces. Nobody (save the other streets of Paris. The third type of window jammed together without hair-spaces— to remember that thousands of people craftsmen) will appreciate half your skill. is one in which the glass is broken these mean subconscious squinting and pay hard-earned money for the privilege But you may spend endless years of happy Address to the Society of Typo- into relatively small leaded panes; and loss of mental focus. of reading quietly set book-pages, and experiment in devising that crystalline graphic Designers, formerly the British this corresponds to what is called ‘fine And if what I have said is true of that only your wildest ingenuity can stop goblet which is worthy to hold the vin- Typographers Guild, London, 1932 printing’ today, in that you are at least book printing, even of the most exquisite people from reading a really interesting tage of the human mind. Published in Beatrice Warde: The Crystal conscious that there is a window there, limited editions, it is fifty times more text. Goblet—Sixteen Essays on Typography and that someone has enjoyed building obvious in advertising, where the one Printing demands a humility of (Cleveland and New York World Pub- it. That is not objectionable, because of and only justification for the purchase of mind, for the lack of which many of the lishing Co, 1956). a very important fact which has to do space is that you are conveying a mes- fine arts are even now floundering in WHO IS HERBERT BAYER, At the beginneing of the 1920’s, Ger- AND WHY HE ‘S man type reformers sought ways of WORK IS SO replacing the national alphabet -the IMPORTANT. spiky Blackletter- with simplified gothic letters. A leading advocate was Austrian-born Herbert Bayer (1900-1985), who was educated at the Bauhaus in Weimar and later taught at the Bauhaus in Dessau, where, from 1925 to 1928, he was director of the school’s department of typography and advertising. During this time, his interests-and the department’s emphasis-shifted from lithography and hand-printing to more me- chanical processes and more inventive typographic exploration. A devout modernist who was profoundly influenced by the De Stijl movement (1917-1932), Bayer railed against the redundancy of serifs and capital letters, arguing instead for the efficiency of lowercase and the economy of a sans-serif alphabet. His universal alphabet of 1925-1927 emphatically illuminates this argument. In this article, published seven years after the Bauhaus was closed, Bayer –who was at this time living in Nazi Germany– explains the practical conveniences of a typographic system that mirrors the functional requirements of modern life. Here, a renunciation of thick-to-thin strokes is contrasted by a celebration of the purity of geometric form.

- JESSICA HELFLAND

Poster Design- Kandinsky. 1926. Photograph. Pioneers of Modern Typography- Herbert Spencer. MIT, 1982. 148. Print. 30

Below: One of a Series of Bank-notes Designed for the State Bank of Thringia. 1923. Photograph. Pioneers of Modern Typography- Herbert Spencer. 149. Print. Herbert Bayer

-HERBERT BAYER -HERBERT TOWARDS TOWARDS UNIVERSAL TYPE

One glance at the specimen book of types we have reached a stage when we must most modern type. we cannot set about much has been written about the legibil- issued by even an up-to-date printing decide to break with the past. when we inventing an entirely new form of type, ity of type. oculists can offer no definite firm, reveals a collection of the most are confronted with a collection of tradi- as this would have to be parallel with a proofs, because their experiments are varied sorts of letters, which as a whole tional styles we ought to see that we can radical reorganization of the language. influenced by habits to which patients constitute a conglomeration of style of turn away from the antiquated forms of We must remain true to our basic letter- are accustomed. for example, it is found the worst kind. arranged in groups and the middle ages with a clear conscience to forms, and try to develop them further. that old people with bad eyesight often compared with other expressions of the the possibilities of designing a new kind classic roman type, the original form of read complicated gothic type more easily periods from which they have descended, of type more suitable to the present and all historical variations of type, must still than clear roman type, because they are they remind us that today we do not what we can foresee of the future. be our starting point. all the variations of used to the former. but from research, build in gothic, but in our contemporary In the course of the centuries our lan- shape have been formed freely according however, it has been concluded that the way. No longer do we travel on horse- guage has changed. it has become shorter, to the style and the calligraphy of the more the individual letters resemble one back, but in cars, train and planes. We do sound-changes have taken place, new type designer, and it is just this freedom another in shape, the less visible is the not dress in crinolines nowadays, but in a words have been coined, new concepts which has been responsible for so many type. this conclusion may be wrong, as it more rational manner. have been formed. language itself needs mistakes. geometry, however, gives us the would be easy to find illegible type-faces Every period has its own formal complete reorganization-but this is a tre- most exact forms. albrecht durer’s en- in which the individual letters differ very and cultural features, expressed in its mendous subject. we shall not enter upon deavours to resolve both the roman and widely from one another, if that be the contemporary habits of life, in its archi- it, but limit ourselves to consideration of the german gothic type into their con- only consideration. and then where shall tecture and literature. the same applies type-design. structive basic elements, unfortunately we look for harmony of form and the to language and writing. we recognize Out of the conglomerate mass of type were never carried beyond their experi- fundamental constructional form of our clearly enough that literary forms of past faces, some of which are illustrated, there mental stage. the bayer-type produced types? other research has established that ages do not belong to the present times. a has emerged, as a last phase, the form of by the berthold type foundry represents whole groups of letters-not single letters, man would make himself ridiculous who classical roman type, with variations until a practical attempt to give a modern but words-are taken in by the eye at one insisted on talking today in the manner we arrive at the simplified form without expression to classical roman type by glance. if we carried this conclusion to its of the middle ages. serifs, popularly known as “sans-serif” means of geometrical construction of logical end we should have optical word Later, we shall see that the type or “sans,” in england the most familiar form. a tremendous amount of reading pictures (similar to chinese signs) and no designs of tradition do not respond to type of this order is commonly known as is done today and there should be no type with separate letters. personally, i be- the essential requirements of type suit- “gill sans,” after the name of its designer, difficulties put in the way of the reader. lieve in the following logical conception: able for use today. we look back upon a eric gill. sans-serif type is the child of our some things have to be read from afar, the simpler the shape of the letter, the long line of development in type design, period. in form it is in complete harmony and letters must be visible from consider- easier the type is to see, read, and learn. and we have no intention of criticizing with other visible forms and phenomena able distances. it is not without reason in classic times capital letters (the only the heritage which now oppresses us. but of modern life. we welcome it as our that oculists use clear cut type faces when letters in use) were drawn with a slate

1935 testing the state of the patient’s eyesight. pencil and incised with a chisel. no doubt 31 32

THE CAPITAL LETTERS OF ANCIENT TIMES ARE HARDLY LEGIBLE WHEN THEY ARE FORMED INTO SENTENCES. THEY CANNOT THEREFORE BE TAKEN INTO CONSIDERATION. Design for a Single Alphabet Tybe- Herbert Bayer. 1925. Photograph. Pioneers of Modern Typography- Herbert Spencer. 144. Print. their form was intimately associated with of up and down strokes. simplification of be cheaper because of simpler construc- these tools. lower case developed in the form for the sake of legibility (the simpler tion. typesetting would be cheaper, type early middle ages from the use of the pen, the optical appearance the easier the cases smaller; printing establishments and therefore inherits the characteristics comprehension). would save space. writing and addressing of handwriting. later, both alphabets a basic form which will suffice for done in offices would be much cheaper. adapted themselves, and we observe in all diverse applications so that the same these facts apply with special force in ‘but why do we types up to the present the characteristic character is adaptable for various func- the english language, in which the use of write and print with basic element of the thin up-stroke and tions: printing, typewriting, hand and capital letters occurs so infrequently. it two alphabets? a large the thick down-stroke. these character- stencil writing, etc. seems incomprehensible why such a huge and a small sign are istics have preserved themselves up to these considerations will explain the amount of apparatus should be necessary not necessary for this day. but do we need such a pretense attempt to design a new type. but why do for such little use of capitals. if it is con- one sound. we do not of precedent at a time when 90 percent we write and print with two alphabets? sidered necessary to emphasize the begin- speak a capital a and of all that is read is either written on a a large and a small sign are not necessary nings of sentences, this could be done a small a’ typewriter or printed on a printing press, for one sound. we do not speak a capital a by heavy type or wider spacing. proper when handwriting plays only a second- and a small a. names could also be shown in another there remains only the small letters of ary role, and when type could be much we need a one-letter type alphabet. way, and for the “i” a uniform sign would our present-day lower case alphabet. this simpler and more consistent in form? it gives us exactly the same result as the have to be created. pursuing this thought must be the foundation of our one-letter hence, i believe the requirements of a mixed type of capitals and lower-case let- to its logical conclusion we perceive that alphabet. and is not a sentence in a new alphabet are as follows: ters, and at the same time is less of a bur- the sound of the language ought to be one-letter alphabet, which intrinsically geometric foundation of each letter, den to school children, students, profes- given a systematic optical shape. in order possesses a formally compact construc- resulting in a synthetic construction out sional and business men. it can be written to aim at a simplified type, as against that tion, more harmonious, logically, than of a few basic e1clnents. avoidance of all considerably more quickly, especially on used today, syllables that frequently recur, a sentence consisting of two alphabets, First published in PM suggestion of a hand-written character, the typewriter, where a shift key would be and combined sounds (diphthongs, etc. which completely differ from each other 4, no. 2 (December- uniform thickness of all parts of the let- unnecessary. typewriting would therefore should be given new letter signs). in shape and size? January 1939-1940). ter, and renunciation of all suggestions be more easily learned. typewriters would 33

COLOPHON .

I would like to thank Celeste Martin for providing the articels for this book, and the guidance for the creation of it.

This first edition was printed and binded at InPrint 1935 W Broad- wayVancouver, BC V6J 1Z3. The Designing was made using InDesign. The Typefaces used where Adobe Garamond, Regular, 10pt size, 14pt leading- for the body copy.Gill Sans, Bold, 12pt size, 14 leading, for all pull quotes. Univers, Bold for subheaders, and titles used a light font style. Fu- tura Condensed extra Bold, 185pt size, with 10pt leading was used for the years the articles where released. This design used a six colum grid, which I then used for three col- umns of text taking two columns of grid.

This book was Designed by Maria Belen Scaglia Emily Carr Univeristy of art and Design Vancouver, BC,Canada 3rd year iXD Discovering