Charlotte Ziob & Lindsay Vigor

early life

- World’s Fair for Graphic & Books, 1914;

inspired an interest in typefaces

- Academy for Graphic Arts in Leipzig to study

typeface design

- At 19 asked to teach evening class

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ideas & style

- When 19, type was used badly

- Piqued interest in typefaces

1923

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1922

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early influence

- 1923: visited Bauhaus exhibition

- Started conversion to modernism
- World’s first “type designer” for
Fischer & Wittig

- Called himself “Iwan” due to heavy

Russian influence

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early influence
László Moholy-Nagy

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early influence
El Lissitzky

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elementary typography

- 1925; caused uproar in

design world

- Centered type became

abandoned

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elementary typography
1. The new typography emphasizes function.

2. The goal of every typography is communicaton.

3. New typography needs photography.

4. Contrasting forms, degrees &

weights make strong design.

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teaching

- 1926: wrote to Paul Renner

- Moved to Munich

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ideas & style
- Made room for modern, structured
& regulated new typography

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the new typography

- 1928

- Use of sans serifs,

photos > illustrations,
asymmetrical layouts

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the new typography

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flight from germany

- 1933: fled to Switzerland after Nazis

came to power

- Nazis saw him as “funadementally

un-German” with modernism ideas

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- Nazis traditionally used Blackletter

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penguin books

- 1946: began work for Penguin

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- Overhaul of previous Penguin style

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penguin books

Before Tschichold After Tschichold

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influential works

- 1962; Arbitrary Measurement

Relations of the Book Page
- Most read & translated work

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Page proportion: golden ratio

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sabon
- 1967

- Model was Garamond

- Considered highly legible

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firm in his beliefs

- Only condoned use of sans

serifs; later revoked this

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1945 work

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firm in his beliefs

- Only condoned asymmetrical

arrangments; later revoked this

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 real sassy

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