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MAKALE BİLGİSİ
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ORİJİNAL MAKALE Yayım T. (Baskı): 25 Ekim 2022 - (Dijital): 26 Ekim 2022
The Heritage of New Typography and The Impact of Today’s

Typography on Social Media
Yeni Tipografi’nin Mirası ve Günümüz Tipografisinin Sosyal Medya
Üzerindeki Etkisi
Orhan SEVİNDİK1, Artür Vahe KARAPEKMEZ2
1
Dr. Öğr. Üyesi, İstanbul Üniversitesi-Cerrahpaşa, Teknik Bilimler Meslek Yüksekokulu, Tasarım Bölümü
orhansevindik@iuc.edu.tr, ORCID: https://orcid.org/0000-0001-6162-7016
2
Doktora Öğrencisi, Yıldız Teknik Üniversitesi, Sosyal Bilimler Enstitüsü Sanat ve Tasarım Anabilim Dalı
arturkarapekmez@gmail.com, ORCID: https://orcid.org/0000-0001-7704-750X
Abstract
Aim: The need to communicate, which emerged with the paintings that prehistoric people
made on the cave walls, led people to live collectively and as a result of changing personal
needs led to the emergence of written communication. The ongoing advances in computer
technologies have redefined typography, which is one of the most important tools of visual
communication today, and it has been evaluated in a completely different dimension apart
from its ongoing mission since Gutenberg. Social media applications, which came to life with
the changing technologies of the 21st century, have created a much faster and more effective
communication channel than mass media today. The purpose of this article is to evaluate the
effects of typography used in social media applications on the user by examining it in both
communication and design. Method: Do the typography designs preferred in social media
applications have an effect on the user? A literature review technique was made in the context
of the question, and the user interface pages of the applications were examined by content
analysis method. This article covers the starting of visual communication on prehistoric
periods, the use of the first phonetic alphabet, and the discovery of the Gutenberg printing
press. Continued with the reinterpretation of typography in the 20th century art movements,
as well as it includes the analysis of the effects of the New Typography, advocated by Jan
Tschicold, on the designs of social media applications used today, which also constitute
the universe of the research. Conclusion and Recommendations: ‘Facebook’, ‘Twitter’
and ‘Instagram’ were examined from popular social media applications also selected as the
sampler of this resarch. As a results of all reviews and the design analysis, almost all of these
Sorumlu Yazar: Artür Vahe KARAPEKMEZ E-posta: arturkarapekmez@gmail.com

Atıf: Sevindik, O. ve Karapekmez, A.V. (2022). The Heritage of New Typography and The Impact of Today’s Typography on
Social Media, TECHNICS: Journal of Applied Technologies, 1(1), 21-54.
This work is licensed under a Creative Commons
Attribution-NonCommercial 4.0 International License
Orhan Sevindik - Artür Vahe Karapekmez
The Heritage of New Typography and The Impact of Today’s Typography on Social Media
designs look like were similar and made in the context of the New Tipography approach,
because the users love and adopt much more easier any design when it made according to
New Typography vision. As a result, concepts such as functionality, speed, usability and
readability underlying the New Typography understanding have created a more flexible and
free thinking environment for designers.
Keywords: New Typography, Graphic Design, Jan Tschichold, Typography in Social Media,
Digital Typography
Özet
Amaç: Tarih öncesi insanların mağara duvarlarına yaptığı resimler ile ortaya çıkan ile-
tişim kurma ihtiyacı insanları toplu yaşamaya yönlendirmiş ve değişen ihtiyaçlar yazılı ile-
tişimin doğmasını sağlamıştır. Bilgisayar teknolojilerindeki daimi gelişmeler bugün görsel
iletişimin en önemli araçlarından biri olan tipografinin yeniden tanımlanmasını sağlamış
ve Gutenberg’den beri süregelen görevinin dışında apayrı bir boyutta değerlendirilmiştir.
21. yüzyılın değişen teknolojileriyle hayat bulan sosyal medya uygulamaları bugün kitle
iletişim araçlarından çok daha hızlı ve etkili bir iletişim kanalı oluşturmuştur. Bu makalenin
amacı; sosyal medya uygulamalarında kullanılan tipografinin hem iletişim hem de tasa-
rım yönünden incelenerek kullanıcı üzerinde yarattığı etkileri değerlendirmektir. Yöntem:
Araştırmada sosyal medya uygulamalarında tercih edilen tipografi tasarımlarının kullanıcı
üzerinde etkisi var mı? Sorusu çerçevesinde literatür taraması tekniği yapılmış ve uygulama-
ların kullanıcı arayüzü sayfaları içerik analizi yöntemiyle incelenmiştir. İçerik olarak, görsel
iletişimin tarih öncesi dönemlerinden başlayıp, ilk fonetik alfabenin kullanılmasına ve Gu-
tenberg matbaasının bulunuşundan 20. yüzyıl sanat akımları içerisinde tipografinin yenin-
den yorumlanmasına kadar geçen süreyi kapsamakla birlikte Jan Tschicold’un savunduğu
Yeni Tipografi’nin günümüzde kullanılan ve araştırmanın evrenini oluşturan sosyal medya
uygulamalarının tasarımları üzerindeki etkilerininin analizini içermektedir. Sonuç ve Öne-
riler: Çalışma çerçevesinde yapılan araştırmalar ve örneklem olarak seçilen popüler sosyal
medya uygulamalarından ‘Facebook’, ‘Twitter’ ve ‘Instagram’ın tasarım düzenleri incelen-
diğinde hemen hemen hepsinin birbirine benzemesinin ve bu tasarımların Yeni Tipografi
anlayışı çerçevesinde yapılmasının sebebinin kullanıcıların Yeni Tipografi anlayışına göre
tasarlanmış bir tasarımı daha çok sevdiği ve benimsediği sonucunu ortaya koymuştur. Sonuç
olarak Yeni Tipografi anlayışının temelinde yatan işlevsellik, hız, kullanılabilirlik ve oku-
nabilirlik gibi kavramlar tasarımcılara daha esnek ve özgür bir düşünce ortamı yaratmıştır.
Keywords: Yeni Tipografi, Grafik Tasarım, Jan Tschichold, Sosyal Medya Tasarımı, Dijital
Tipografi
Introduction
When graphic design is considered from a historical perspective, it can be
said that its existence dates back to the primitive man. It is possible to trace the
graphic design in shaping the stones and in the drawings that people make on the
cave walls with the effort of communicating with someone. (Frascara, 2004:15-
17; Headrick, 2009; Demir, 2010:57-62; Becer, 2011:84; Arlı, 2017; Kulakoğlu,
2019; Yegen, 2020). However, it is possible to say that the full emergence of the
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Journal of Applied Technologies
2022, 1(1); 21-54
graphic design field and the period in which it manifested itself was a result of
the massification of people in large communities after the industrial revolution
(Triggs, 2009; Meggs & Purvis, 2012; Sfligiotti, 2017; Chiang vd., 2019; Udris
ve Udris-Borodavko, 2020).
“Cuneiform”, developed by the Sumerians, known as the founder of Meso-
potamian civilization, is a very important milestone in human history. In this way,
the pictograms they produced by engraving on clay with a reed reached a size that
would express thoughts and sounds over time, resulting in a structure accepted
as the basis of today’s alphabets (Uçar, 2004:17-20; Becer, 2011: 83-89; Meggs
ve Purvis, 2012:39-45; Faulmann, 2015:23-65). The development of Egyptian
Hieroglyphs, Phoenician alphabet, and Chinese Calligraphy after the Sumerian
Cuneiform Script, brought us to the type system invented by Gutenberg over time
(Davies, 1988:40-48; Hobson, 2004:190; Meggs & Purvis, 2012:39-45; Bozkurt
ve Çubukcu, 2018:946).
The turning point in the history of typography was with the type system, a
technique developed by Johannes Gensfleisch zur Laden zum Gutenberg, born
in Mainz. Unlike the printing methods before him, Gutenberg effectively used
mass production, reusability and low-cost production in the printing process in
the light of his knowledge of metals and minerals (Lyons, 1999; Cremonese,
2000; Uçar, 2004:100-101; Man, 2009:124; Ambrose ve Harris, 2009:10; Gar-
field, 2014:3; Karapekmez, 2021).
Within 100 years after the use of the type method, printing has progressed
rapidly in Europe. The business area, which was created for the printing of books
that were previously reproduced with manuscripts, started to increase their pop-
ularity rapidly. The facilitation of book printing has increased the literacy rate
and the idea that the book is only a phenomenon that belong to a certain group
has been demolished. After this point, the understanding of communication be-
tween the sender and the receiver underwent a radical change with the Industrial
Revolution and laid the groundwork for the formation of the New Typography
Movement. Typography has become an unchangeable building block in all kinds
of designs (magazines, brochures, posters, newspapers, banners, social media de-
signs, etc.) demanded by various focal points (public institutions, commercial
enterprises, etc.) that want to reach large masses and communities. However, the
event that made typography an important building block of visual communica-
tion in graphic design was the fact that it gained importance in parallel with the
development of communication-oriented technologies in the 20th century and it
was understood that it had a great impact on communities and masses (Bektaş,
1992: 9-78; Hannigan, 1992; Neavill, 1996; Sarıkavak, 2004:1-13; Wilson, 2004;
23
Ambrose ve Harris, 2006; Becer, 2011:92-98; Topsakal, 2018:129; Begtimur,

2018:161-163). As Mcluhan (2001:31-32) says;
“Typography is not just a technology, it is a natural resource or a basic
product in itself, like cotton or timber or radio, and like all basic products
it shapes not only personal sense organs but also patterns of communal
interdependence. Typography extended its character to the arrangement
and fixation of languages. Typographic man’s new understanding of time
is cinematic, pictorial and serial. Typographic man can express the em-
bodiment of printing technology; but he is helpless in reading them. The
separation between the mind and the heart caused by the printing press
is a trauma that has affected Europe from Machiavelli to the present. The
Machiavellian mentality and the merchant mentality are exactly the same
in their stark belief in the power of the division that governs all—the di-
chotomy of power and morality, and the dichotomy of money and morality.
Dantzig explains why the language of numbers had to be expanded to meet
the needs created by the new letter technology.”
The basis of the New Typography understanding and its intended use are
to be understandable. When words go into writing, they lose their personality.
Therefore, an interesting and catchy method should be determined when using
them as a means of communication because it is not clear how and to whom it is
said (Mcluhan, 2001:31-32).
The development of the lithography (Stone Print) technique has enabled the
artists to use writing and illustrations that were not possible in figurative printing;
and afterwards, the development of photography technology and the develop-
ment of printing systems and the ability to print photographs and illustrations
have started a new era in terms of graphic design and also initiated a serious trans-
formation all around the world (Turani, 1992; Jourdan, 2005:14; Hacalaki, 2006;
Drucker & McVarish, 2009:128; Kahraman, 2014; Toffler, 2018:132; Sürmeli &
Gülpınar, 2018).
The use of computers for design in communication technologies has greatly
changed the features of graphic design production processes. The use of comput-
er technologies has also led to the development and diversification of typography,
making it become a big world (Yang ve Sun, 2016; Wu, 2020). The spread of the
internet, which is a technology for computers to communicate with each other
over a network, has led to the emergence of websites and the active use of typog-
raphy accordingly (Karaçor, 2009; Bakardjieva ve Gaden, 2012; Yıldız, 2020;
Kaptan ve Üncel, 2020; Khaleel-Ibrahim, 2021). On top of all these, the spread
of mobile communication and the combination of mobile communication with
the internet have resulted in people being able to communicate with other people
from anywhere they want. And typography has preserved its place as the most
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2022, 1(1); 21-54
important composition in this whole development process and continues to do

so. Today, especially with the emergence and spread of social media platforms,
typography has reinforced its instrumental position in communication processes
(Engholm, 2002; Armean, 2017).
Within the scope of the study, it has been tried to describe how typography
has shaped until the New Typography movement and how typography has made
a place for itself today and in this context, what its position is at this stage. Within
the scope of the research, the answer to the question: “How has the development
of typography been since the New Typography Movement?” was investigated us-
ing the situation analysis method. Thus, it is aimed to define the development and
the use of typography in a holistic way in the field of graphic design.
Typography in Art Movements

Arts & Crafts
The Arts & Crafts movement, emerged in England as an opposition to
the materialistic understanding created by the social, moral and artistic chaos
brought by the Industrial Revolution; and William Morris is known as the pio-
neer of this art. Emphasizing the unqualified “cheap and bad” mass-produced
goods of the Victorian Era, he advocated a return to the past (Winter, 1975;
Crawford, 1997; Petts, 2008; Meggs ve Purvis, 2012:176; Dilmaç, 2015:11-12;
Weill, 2019:14-17; Willetts, 2019). The poet and artist John Ruskin, who in-
spired the development of the Arts & Crats movement, advocated the necessity
of making art by hand in his works ‘Seven Lamps of Architecture’ and ‘Stones
of the Venice’ written in 1849, and emphasized the social importance of hand-
icrafts. He is of the opinion that traditional methods should be used (Bektaş,
1992:13-15; Ruskin, 2011).
Image 1. William Morris, Golden, Troy and Chaucer Types, 1888-1896.

Reference: https://williammorristypographyasartandcraft.wordpres.
com/2017/02/21/golden-troy-chaucer/ [Access Date: 09.09.2022]
25
The most important name in the typographic dimension of the Arts & Crafts
Movement has been William Morris with his works. In particular, between 1470
and 1476, Morris, who studied the Venetian Roman letter characters of Nicolas
Jenson, designed the first letter design called “Golden”, as well as the “Troy and
Chaucer” types (Image 1), based on the idea of the eyestrain of the Bodoni type
(Harvey & Press, 1991:201; Öztürk, 2014). Morris also occupies an important
position in the movement with 53 books, which he published with 18,000 copies
at the Kelmscott Publishing House he founded (Lucie-Smith, 1984:100; Horow-
itz, 2006; MacCarthy, 2010; Fayos-Perez, 2013). In addition to designing many
typefaces by designers such as Rudolf Koch, Frederic W. Goudy, William Ad-
dison Dwiggins, type designs of traditional letter masters such as ‘Garamond’,
“Plantin”, “Caslon”, “Baskerville” and “Bodoni” were also these types were
rearranged after this period and reached today (Bowles, 1894; Bektaş, 1992:16;
Meggs ve Purvis, 2012:192).
Art Nouveau
Just before Modernism, the Art Nouveau movement, which affected the whole
world between 1890 and 1910, emerged under the influence of the Rococo period
and especially Japanese arts. The development of trade between Europe and the
Far East enabled Japanese prints and wooden patterns to be transported to Europe
and the Japanese clock to be influential on the Art Nouveau movement. Many
artists such as Manet, Monet, Renoir, Van Gogh, Toulouse-Lautrec, Gauguin and
especially Degas were influenced by Japanese art, especially the Symbolists and
“Nabis”. In the shop called “La Porte Chinoise” opened on Rue de Rivoli, there
were examples of Japanese printmaking that fascinated young Impressionists
and whose effects were felt in many of their works. A decorative understanding
dominated Art Nouveau. Fluid, organic forms that go on as if they will never
end; nature-themed, asymmetrical style is often used. Within the movement, very
successful works were produced in the fields of poster design, book design and il-
lustration (Jacobus-Jun, 1960; Serullaz, 1991:12-13; Bektaş, 1992:17-25; Black,
2000; Kıran, 2008; Meggs ve Purvis, 2012:198; Ayaydın, 2015: 65; Azılıoğlu &
Yılmaz, 2020: 598).
It is possible to examine the development of Art Nouveau in two phases.
The first of these is the designs created by the flowery, curvy lines seen in En-
gland, Belgium and France, and later in Germany and Italy. Later, the second
phase, generated by the geometric forms and in which the lines were flattened,
developed in Scotland and with its influence in Austria (Ayaydın, 2015:62; Kıran,
2008). Decorative curved form understanding also had an impact on typography.
German artist Otto Eckmann, one of the designers who was very influential in
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TECHNICS
2022, 1(1); 21-54
typography of this period, created characters drawn using brushes in the typeface
that bears his name, designed in 1900; and Eckmann, while designing their char-
acters, benefited from the visual features of the “Blackletter” and “Romanian”
characters (Image 2) (Öztürk, 2014).
Image 2. Otto Eckmann, Typeface Design, 1900

Reference: http://luc.devroye.org/fonts-26353.html [Access Date: 09.09.2022]
With the freedom of the press in France in 1881 and the expansion of the
areas where posters could be used, poster artists were paved and unique works
were designed in the field of typography and design. Especially Jules Chéret (Im-
age 3), who is considered to be the father of the illustrated posters, and Henri de
Toulouse-Lautrec (Image 4), who presents the nightlife of Paris in a unique style,
Eugène Grasset (Image 5) whose works contain traces of medieval and Japanese
art. Alphonse Mucha (Image 6), who became famous with the theater posters
he made for Sarah Bernhardt have produced innovative works under the influ-
ence of Art Nouveau (Collins, 1985; Bektaş, 1992:17-25; Iskin, 2013; Kieffer,
[01.10.2020]). Typography has had a special place in the poster designs made by
the artists, and typographical elements have been used to complement the design,
except for the purpose of providing information, provided that the main structure
of typography remains constant. While there is no change in the structural forms
of the fonts, various positionings have been used in poster designs to make the
stationary states active.
27
Image 3. Jules Chéret, Loie Fuller - Image 4. Henri de Toulouse-Lautrec, La

Folies Bergeres,1893 Goulue, 1955
Reference: https://www.kingandmcgaw.com/prints/art-nouveau/all?per_page=180
[Access Date: 09.09.2022]
Image 5. Eugène Grasset, Poster Design Image 6. Alphonse Mucha, Poster Design
for His Own Exhibition, 1894 for ‘Gismonda’ Theater Play 1894
Reference: https://www.meisterdrucke. Reference: http://www.muchafoundation.
com/k%C3%BCnstler/Eugene-Grasset.html org/en/gallery/themes/theme/sarah-bern-
[Access Date: 09.09.2022] hardt/object/21[Access Date: 09.09.2022]
28
TECHNICS
2022, 1(1); 21-54
Futurism
Modernism brought by the Industrial Revolution has an understanding of
moving away from the traditional, rather focusing on development and progress.
The human type created by modernism has taken on an unconventional thought
that is constantly researching and questioning, open to innovation. One of the
phenomena that would experience a radical change after the thought brought by
modernism has been typography. Adherence to a certain standard, horizontal and
vertical symmetry forms dominated typography until the futurism movement.
Futurist poets were the first to question the soulless and monotonous appearance
created as a result of this. Thus, they ignited the fuse with Futurism, which would
take typography out of the hands of printers and turn it into an artistic concept
(Bektaş 1992: Becer, 2011:101-103; Meggs ve Purvis, 2012:259; Becer, 2016:47-
49; Ialongo, 2016).
The Futurism movement, which was seen in Italy in the 20th century, emerged
with the “Manifesto Futurisita” (Futurism Declaration) published in the “Le
Figaro” newspaper in Paris in 1909, and over time, it affected all of Europe and
then Russia. The innovations brought by modern life lie on the basis of the move-
ment. Futurism, which takes its name from the English word ‘future’ has always
been an art movement open to innovation, hostile to the past and traditionalism.
Continuity, motion and violence form the basic understanding of the movement.
The pioneer of the futurism movement is the Italian poet Filippo Tommaso Mari-
netti. With the papers he wrote, he aimed to create an atmosphere of confusion
in the society. Marinetti et. al. first challenged the monotony of the past by de-
veloping a poem that violated the rules of grammar and syntax (Marinetti, 1919;
Lynton, 1991:89; Bowler, 1991; Meggs ve Purvis, 2012:261; Sarıkavak, 2013;
Özkan, 2015; Bortulucce, [06.07.2020]).
Marinetti’s layout and design of typographic elements in the cover design
of his work named “Zang Tumb Tumb”, which was prepared in 1914 (Image
7) was prepared in a way that refers to the Balkan War. Despite the author and
printing information placed in a more straight and diagonal way, the title of
the book made the effect of the war and bombardment being felt. In Liberta,
nonsense words are inserted that cross the word parole with an arrow. Bold
and thin letters with different characteristics were used simultaneously to re-
flect the effect of conflict. The letters were animated with a scattered layout
without following the rules of grammar and typography, while the violence of
war, cannons and explosions was reflected only with words. Marinetti created a
powerful technique by trying to describe all the hardships of the war in a poetic
29
language and with the typographic free words he created. He created an ono-
matopoeic effect with the horizontal and vertical elements accompanying the
upper- and lower-case letters and the fragmented words placed in the margins,
and he called it multi-line lyricism (Image 8) (Meggs ve Purvis, 2012:260;
Daly, 2013; Novin, [15.07.2020]).
Image 7. F. T. Marinetti, ‘Zang Tumb Tumb’

Image 8. F. T. Marinetti, a page from
Cover Work, 1914
his book ‘Poem by Marinetti’, 1919
Reference: https://arthistoryproject.com/
Reference: Filippo Tomasso Marinetti.
artists/filippo-tommaso-marinetti/zang-tumb-
Les Mots En Liberté Futuristes: 105.
tumb/ [Access Date: 09.09.2022]
One of the most important futurist works was the poetry book “Un Coup
de Dés Jamais N’Abolira Le Damaged” (A Roll of the Dice Will Never Elimi-
nate Coincidence), written by the French poet Stephane Mallarme in 1897 (Im-
age 9). Mallarme distributed the words in a musical plan, rejected the classical
word order and made the enthusiasm of music felt by making the letters almost
dance on the pages. Instead of arranging the words, he placed them in a scat-
tered manner, arousing curiosity and thought in the reader on the page. Scat-
tered word sequences and typographic dimension differences enabled to catch
dynamism in expression (Bektaş, 1992: 44; Cramsie, 2010:175-176; Ranciére,
2011:43; Çulha, 2016).
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TECHNICS
2022, 1(1); 21-54
Image 9. S. Mallarmé ‘Un Coup de Dés Jamais N’Abolira Le Hasard’, 1897

Reference: https://www.poetryintranslation.com/PITBR/French/MallarmeUnCoup-
deDes.php [Access Date: 09.09.2022]
Dadaism
Another movement that was influential in the formation of the idea of New
Typography was Dadaism, which emerged during the First World War. It is a
cultural and artistic movement founded in Zurich by a group of poets in the first
quarter of the 20th century, led by Tristan Tzara. Dadaism, which is an art and
literary movement that adopts the principle of rebelling against war and social
insecurity, was born as a protest against the barbarism of war and against the rule
in the field of art. The movement was seen simultaneously but independently
from each other in Zurich and especially in New York with the work of Francis
Picabia and Marhel Duchamp. It also left traces in cities such as Berlin, Cologne
and Hannover, Paris (Bektaş, 1992:44; Molesworth, 2003; Sürmeli, 2012; Meggs
ve Purvis, 2012:265; Becer, 2016:85; 2020:1138).
The Dada movement has a character that does not accept illogicality and the
order that art is claimed to be in. This movement has a philosophy that cares
about unsettling and shocking people and the attraction of coincidence. In addi-
tion to the approach of the movement targeting the traditions, it also carried out
serious studies to liberate typography, which is thought to be in a technical struc-
ture, from traditional rules. The word “coincidence” has an important place in
the expressions of Dadaist artists. The connection between collage works created
31
by the random arrangement of paper pieces and coincidence is an important point

for the Dadaist artists (Image 10). Dadaists believed that reason has no value and
opposed the usual aesthetic values. Dadaists rejected the concept of beauty in art,
considered all waste materials valuable and tried to use them in their works of
art, and approached the complexity of modern life with a cynical language, argu-
ing for meaninglessness (Image 11). Among the many journals they published,
the most important and most influential one was “The Literature”, which was
published between 1919-1924 and included the articles of Andre Breton, Louis
Aragon, Philippe Soupauld, Paul Eluard and Georges Ribemont-Dessaignes. The
Dada movement emerged in Zurich in 1916, and after spreading to North and
South America, it began to lose its existence in 1923 (Kristiansen, 1968; İpşiroğlu
& İpşiroğlu, 1991:118-120; Hopkins, 2006; Gelbal, 2021).
Image 10. Theo van Doesburg, ‘Dada Matinée’, Image 11. T. Tzara, ‘Poster for the Ex-
Announcement Poster for Dadaist Events, 1923 hibition Salon Dada, 1921
Reference: https://www.artsy.net/article/artsy- Reference: https://ada-invitations.
editorial-100-years-on-why-dada-still-matters de/cpt-einladungen/salon-dada-gal-
[Access Date: 09.09.2022] erie-montaigne-exposition-internatio-
nale-1921/ [Access Date: 09.09.2022]
Constructivism
Marinetti’s visit to Russia brought Futurism here and the innovative ap-
proaches of the artists laid the groundwork for the birth of the Constructivism
movement. The new style experiments in design and typography also symbolized
the opposition to the values of Tsarist Russia. The first person to feel the need
to formulate constructivist ideology was Aleksei Gan. In his book called “Con-
structivism”, he said that Constructivism got rid of the laboratory environment
and turned to practical application. The Constructivist approach, which empha-
sizes functionality and the use of technology as a solution method to aesthetic
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TECHNICS
2022, 1(1); 21-54
problems, paved the way for the search for a new form, especially based on ob-
jects; and artists working in the field of graphic design, which is a dynamic field,
presented the first examples of the style. Constructivist designers, who opposed
the traditionalist views that deal with everything purely from an aesthetic point
of view, attempted to create new artistic principles, especially in book design
(Bektaş, 1992:56; Meggs ve Purvis, 2012:298-299; Özkan, 2015). The figura-
tive decorations on the pages were removed and replaced with geometric forms.
Photomontage has replaced elegant text and illustrations. In book design, the
classical understanding of symmetry was destroyed and the functional nature of
the book began to be emphasized more. The books designed in the constructiv-
ist style are loaded with visual contrasts that are strong enough to remind of a
poster or newspaper as a result of the revolutionary radical changes (Tschichold,
1995:60; Meggs ve Purvis, 2012:301-302).
El Lissitzky, one of the pioneers of the constructivism movement, argued that
“words are understood by seeing, not by hearing”. Thus, it provided the under-
standing that the design should completely appeal to the sense of sight. He used
simple geometric forms in his designs. The most effective use of typography in
graphic design has been with the Constructivism movement. Besides the designs
he made for Vladimir Mayakovsky’s poetry book ‘Dlya Golosa’ (Image 12), he
also developed the finger index technique so that the reader can find a particular
poem more easily (Tschichold, 1995:60; Bannister, 2012; Becer, 2016:132; Kurt-
cu, 2019).
Image 12. El Lissitzky, Dlya Golosa, 1923

Reference: https://www.moma.org/collection/works/14473 [Access Date: 09.09.2022]
33
El Lissitzky wrote down his typographical thoughts in the articles and man-
ifestos he wrote between 1923-1926. Lissitzky remained constant in his opinion
of the importance of image rather than sound in his works, stated that typography
should be in harmony with the style used, and referred to the clear and under-
standable page layout (Images 13, 14). In his work titled “Typographic Facts”
published in 1925, he emphasized that Gutenberg’s letterpress printing technique
was left behind, that it did not reflect the new typography, and that technologi-
cal developments and photomechanical methods should be used (Frascara, 1988;
Bois ve Hubert, 1979; Bannister, 2012; Moholy, 2022). In fact, the simplification
of typography that emerged with Lissitzky and the use of sans serif typography
constituted the beginning of a change that continues until today.
Image 13. El Lissitzky, Beat Whites Image 14. Aleksandr Rodchenko, Poster for
with The Red Wedge,1919 Leningrad State Publishers, 1925
Reference: https://www.theartstory. Reference:https://velvetmedia.wordpress.
org/artist/lissitzky-el/artworks/ [Access com/2012/09/27/alexander-rodchenko-post-
Date:09.09.2021] er-for-leningrad-state-publishers-1925/ [Ac-
cess Date:09.09.2022]
De Stijl
Under the leadership of Theo van Doesburg, it emerged in the Netherlands
under the name De Stijl in 1917 with the participation of important artists such
as Piet Mondrian, Vilmos Huszar, JJ Oud and the painter Bart van der Leck. In
the same year, they started to publish a magazine called ‘De Stijl’ (Image 15).
The main feature of De Stijl is that the shapes are always at right angles and the
colors are red, blue and yellow. In the De Stijl movement, simplicity is dominant
in typography. While sans serif fonts are used in the designs and texts, geomet-
ric characters, completely rectangular and square structures, are arranged in the
title designs (Image 16) (Meggs ve Purvis, 2012:313-314; Bektaş, 1992:66). An
asymmetrical grid system was used in the studies. The texts were placed in the
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TECHNICS
2022, 1(1); 21-54
corners of the page on the horizontal or vertical axis, which forced the reader to
turn the page in order to read the text. In the works of German artists Van Does-
burg and Vilmos Huszar, it is seen that the letters are usually compressed, and the
color red is used in addition to black to draw attention (Selamet, 1995: 31).
Image 15. Theo Van Doesburg, Cover Design for De Stijl Magazine, 1920
Reference: https://fr.wikipedia.org/wiki/Fichier:Stijl_vol_05_nr_04.jpg [Access Date:
09.09.2022
Image 16. Theo Van Doesburg, Alphabet Design, 1919

Reference: http://www.iconofgraphics.com/Theo-Van-Doesburg/ [Access Date: 09.09.2022]
Bauhaus
Bauhaus has an important role in the formation of the new typography move-
ment. Weimar Arts & Crafts School, which was closed for a while after the First
World War, turned into an academy with a new vision under the management of
Walter Cropius and took the name “Das Staatliche Bauhaus”. In post-war Ger-
many, the living standards of society became more difficult and led them to new
searches. The first mission of the Bauhaus school was mental designs guided by the
phenomenon of modernity and progress. They tried to create a phenomenon that
thought that the artist and the craftsman should work together. It has greatly influ-
enced and sourced today’s design schools. The slogans “Less Is More” and “Form
Follow Function” that they used became the basic view of both their own vision
and modern art (Meggs ve Purvis, 2012:328; Sarıkavak, 2013; Birringer, 2013).
35
Gropius and Moholy-Nagy published the book “Staatliches Bauhaus in Wei-

mar” between 1919 and 1923. The aforementioned book is known as the first
publication published by Bauhaus. M. Naggy has included important information
about typography in the work. He stated that typography is a communication tool
and should be used for communication purposes. According to M. Naggy, being
clear and unambiguous should be the most important philosophy, a legible design
should be considered. He argued that the letters should not be confined to a pat-
tern, for example a square, as in the De Stijl style, and argued that typographical
elements are sufficient to communicate in design, and that there is no need for
illustrative designs in typography (Jubert ve Cullars, 2006; Becer, 2016:199).
The Bauhaus school took the name “Hochschule für Gestaltung” (Design
High School) in 1926 and started to publish the journal “Bauhaus” here. Her-
bert Bayer designed the cover of the magazine. Emphasizing functionality in
his works, Bayer advocated a typographic arrangement consisting of sans serif
scripts rather than using serif fonts in his “New Typography”. He used geometric
forms, primary colors, square forms and rounded shapes (Özkan, 2020).
In accordance with the singular character of modernism, the ‘Universal’ type-
face (Image 17) prepared by Herbert Bayer in order to create a single language
brought a new atmosphere to the design. Even though it is not directly related to
the Bauhaus understanding of art, the ideas defended by the German designer Jan
Tschichold, who was influenced by the Bauhaus movement and Russian Con-
structivism, in his book “New Typography” written in 1928, are very important
for the development of modern typography (Jubert ve Cullars, 2006).
Image 17. Herbert Bayer, Universal typefaces, 1925

Reference: https://www.typografie.info/3/Schriften/fonts.html/universal-schrift-r176/
36
TECHNICS
2022, 1(1); 21-54
Jan Tschichold and the New Typography Movement

Although the first examples of the New Typography Movement were seen
in 1890, artists turned to aesthetics and simplicity during this period; however,
they did not fully consider readability. The idea of New Typography sprouted
in Germany and became an important thought among modernist movements. El
Lissitzky, Laszlo Moholy-Nagy and Kurt Schwitters were the ones who put for-
ward the ideas of new approaches in typography with their articles published
between 1923 and 1925. In Lissitzky’s paper titled “Topography of Typography”,
he mentioned the importance of visual perception rather than auditory perception,
especially in printed texts (Ferguson ve Scott, 1990; Anker, 2007).
Many artists who laid the groundwork for the New Typography movement
did not make typography designing as an active profession like Jan Tschichold.
Tschichold started to be interested in the art of calligraphy from a young age,
as his father was also a writing master. He studied at the Leipzig Academy and
started working in a publishing house. His visit to the Bauhaus exhibition com-
pletely changed the typographic view he had used in designs until then. The de-
sign he made for the “Philobiblon Publishing House” (Image 18) in 1924 clearly
revealed the sparks of the new typography movement (Margolin, 1984; Becer,
2016: 231-236; Özdemir ve Kurt, 2018).
Image 18. Jan Tschichold, poster work for Philobiblon Publication, 1924
Reference: http://retinart.net/artist-profiles/jan-tschichold/ [Access Date: 07.09.2022]
His work named “Die Neue Typographie” (The New Typography), in which
he condemned all the other serif fonts except the sans serif fonts, became a man-
ifesto of modern design (Image 19). Tschichold also supported the uncentered
design and it is possible to say that he determined many other rules of modernist
design with the designs he made (Tschichold, 1995; Becer, 2016:231).
37
Image 19. Jan Tschichold, Poster Design for the Book Die Neue Typograpie, 1928
Reference: http://retinart.net/graphic-design/clarity-demanded-the-modernists/
Jan Tschichold, in his book titled “Elemental Typography” written in 1925,

mentioned that the New Typography was shaped in line with a specific purpose
and that this purpose was communication. For this reason, he mentioned that the
basic principles of typography are to set the values such as font sizes, colors,
margins and line spacing correctly in a page layout, as well as placing the images
in the right size in the right place in terms of format and position, and correctly
adjusting the colors in terms of contrast. Tschichold approached the subject in his
related book as follows;
“Thanks to the technology developed by modernism, modern people
are faced with messages directed to them in many parts of daily life. These
messages can come from their own mailbox as well as from any outside
environment. The main purpose of communication tools is to enable people
to receive these messages consciously or unconsciously. Now the printing
materials had to change compared to past. People no longer read line by
line; rather, they quickly look at them all and examine in detail only if their
interest is aroused. In this race of time, only simplicity in form could pro-
vide it. Old typography has little to do with functionality and not with the
terms of ‘beauty’ and ‘art’.” (Tschichold, 1995:64-65)
Jan Tschichold argued that wherever he went, the new typography was a
means of communication and therefore had to have certain forms. According to
him, white spaces should be deliberately left on the form, there should be a pro-
38
TECHNICS
2022, 1(1); 21-54
portional hierarchical order with font size differences from place to place, and
an asymmetrical design should be considered, and in his designs, he intensively
used sans serif typefaces, which he defended until the 1940s. In the following
years, he adopted the view that adorning the sans serif characters with the serif
characters made it easier to read (Tschichold, 1995:64-106; Uçar, 2004:114-115;
Weill, 2007:97-98).
The Method of the Research

In the research, the aim is to trace the development of typography in the
axis of the New Typography movement, to reveal how typography, which has an
increasing application area and becomes easier to use with the developing infor-
mation technologies, is used in shaping people’s lives and actions, and to what
extent these utilizations are effective.
In this article study, the situation analysis method, which is one of the screen-
ing methods, was used. Situation analysis examines an event or issue in a time
period or a single time frame determined in time. It is possible to collect data
from many sources within the scope of the analysis (Subaşı ve Okumuş, 2017).
Therefore, the development of typography in the light of “New Typography” and
its current situation were analyzed by examining scientific articles, texts written
on the subject, books, resources specific to graphic design, art movements of the
period, works of artists advocating the new typography movement and the typog-
raphies used in the websites of social media applications (Facebook, Twitter, In-
stagram). The page designs of social media applications on other devices (phone,
tablet) were excluded from the study.
Results
In today’s world, where the majority of the society actively uses computers
and the influence of digital media elements increases, we can say that writing has
kept up with this era by digitizing with the font concept. We are living in a period
of rapid technological change, from the books that Gutenberg published that were
limited to a single metal letter to where we can be indecisive about which of the
hundreds of thousands of fonts to use among. Although there are no mailboxes
anymore, electronic communication devices, electronic mailboxes stand in the
forefront as a communication tool and are indispensable for ensuring commu-
nication. At the core of all communication, the concept of typographic design
occupies an important place. It is possible to easily say that the basis of the new
typography is a phenomenon that includes the elements of aesthetics, simplicity,
attention and speed.
39
The most basic task of a font is to be recognizable. As Garfield points out,

fonts can be masculine or feminine, or they can look more serious or have an
informal look like “Comic Sans”. Some characters are not taken seriously, while
others can be groundbreaking; but no matter what, a font tells something in its
essence and stands out for this. In John Gray’s book “Men are from Mars, Women
are from Venus”, the designer Andrew Newman (Image 20) used “Arquitectura”
for masculine lines and “Centaur” for feminine characters. Newman profession-
ally used the Arquitectura which is masculine with its light space age, cool, long
and solid stance, and the feminine appearance of Centaur with its handwritten
look, thin and elegant curves (Garfield, 2014: 33).
Image 20. Andrew Newman, ‘Men are from Mars, Women are from Venus’ Book Cover
Design
Reference: https://www.orellfuessli.ch/shop/home/artikeldetails/ID33961444.htm-
l?ProvID=10917737 [Access Date:09.00.2022]
Typographic Structure in Facebook Application

The most important building block in the birth of social media is undoubtedly
the Facebook application. Facebook has gained an important place in people’s
lives and has enabled many social media applications that came after it to become
widespread. Compared to today’s designs, the first page designs of the Facebook
application have the same idea; but it is possible to say that almost everything is
different in terms of design (Image 21). While typographic elements are domi-
nant in the first page design of the Facebook application, the distribution of ty-
pographic elements on the page plane exhibits a scattered structure. Although
it can be said that there is a hierarchical structure in the typography used in the
40
TECHNICS
2022, 1(1); 21-54
design, a complexity emerges when the visuals used in the design are taken into
account. On the other hand, the typography used tried to provide the main axis
of the New Typography Movement, especially with sans serif fonts. However,
the white spaces in the page design have a quite weak connection with the ty-
pography used.
Image 21. 2004, First Facebook Page Design

Reference: https://www.pcmag.com/news/10-years-later-facebooks-design-evolution
The Facebook application used the Swiss origin Helvetica font until 2016,
and it has started to use the Geneva font with a radical decision since 2016. Al-
though both fonts have almost similar structures, Geneva differs from Helvetica
with its horizontal height and increased character curves. For this reason, the
letter spacing is more spacious and allows people to be more comfortable while
reading. As readers can distinguish different characters more easily, it provides
better separation and better readability (Image 22).
Image 22. Comparison of a Facebook Post with Helvetica and Geneva Fonts
Reference: https://mashable.com/article/facebook-font-geneva [Access Date:
10.09.2022]
41
When we look at the design of the current user home page of the Facebook
application, it is seen that they tried to give the data flow in a three-column struc-
ture (Image 23). While the left and right columns are on a gray background, the
main flow in the middle column is white, creating a contrast in the page design.
Thus, while the user perceives the left and right columns as a whole, the middle
column is more prominent and differentiated. Looking at the page layout of the
Facebook application, it is possible to say that typography and spacing come to
the fore. It is seen that the typeface is sans serif, and the hierarchy between the
typefaces is provided by bold style fonts.
Image 23. 2021 Facebook User Homepage Design

Reference: https://www.facebook.com [Access Date: 10.09.2022]
Typographic Structure in Twitter Application

Twitter was included in our lives with a tweet of its founder Jack Dorsey on
March 21, 2006. In web page design, Twitter also uses the Helvetica font, like
Facebook. The fact that the Twitter application serves to a single purpose, it did
not need to compromise its design, and has become a partner in the race in every
sense. The web interface designs that Twitter has made since 2013 are not for-
eign to the eye. While the effect of Facebook dominated the design of the Twitter
application in 2013, the structure of the Instagram application, which became
popular in 2017, greatly influenced the appearance of the Twitter page.
The application wanted to replace the Helvetica font with Gotham in 2014;
but as a result of the reaction, it received from its users, it returned to the former
font in a short time (Kastrenakes, 2014). The biggest visible change in Twitter
application has been its tendency towards simple expression in typography. It
has taken on an appearance that draws the flow to the middle of the page, where
42
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2022, 1(1); 21-54
every area is full and each point attracts attention separately in its old design.
Thus, attention is directed to the middle of the page and spaces are left on the
edges (Image 24). The concept of speed and legibility, which is at the core of the
concept of “New Typography”, has become much more important in the page
design of the application after 2014.
Image 24. An Example from Twitter Profile Page.

Reference: https://www.dezeen.com/2019/07/15/twitter-website-redesign/ [Access Date:
09.09.2022]
The Twitter application, like the Facebook application, used the triple col-
umn logic in its page design and allocated the middle column to the user’s news
flow. While sans serif fonts are used throughout the application, the point sizes
of typographic elements are differentiated in all three columns, emphasizing that
each column has a separate function. While relatively larger fonts were used in
the left column design, which can be considered as a menu, lower font size was
used in the middle column (main news flow) and right column designs. While the
typography used in the main flow column is in the normal style, the typography
used in the right column is used in the normal style, but the typography used in
the bold style attracts more attention. While both are integrated by using white on
the left and right column background, the right column is separated with the gray
color used on the right column background.
Typographic Structure in Instagram Application
Another well-known application, Instagram, has chosen the font named
“Segoe UI” and “Proxima Nova” as the main character in its web version. If the
43
selected fonts are not available on the user’s device, it is planned to use “Helvet-
ica” and “Arial” style fonts as alternatives. When the design of the user page of
the Instagram page is examined, it is seen that a two-column design structure is
used (Image 25). Despite the fact that photographs are in the foreground due to
the nature of the application, it is possible to say that the typographic elements
used in the design remain faithful to the main axis of the New Typography move-
ment, with the sans serif structure. On the other hand, the hierarchy in typogra-
phy is provided by the use of normal and bold writing styles. When the design
is examined in terms of the color used on the ground, gray color dominates the
entire background of the page. In the column (left column) where the flow area
is located, a contrast is created on the design floor by using a white background.
Image 25. Instagram Web Homepage Design

Reference: https://www.mysmartprice.com/gear/how-to-post-photos-and-videos-on-ins-
tagram-web-pc/ [Access Date: 10.09.2022]
Areas where Typography is Intensively Used in Applications

The privacy and rules pages of all three social media applications (Facebook,
Twitter, Instagram) where typography is used intensively were also examined in
terms of typography (Images 26, 27, 28). It is possible to say that the pages of
all three applications such as information, privacy and security are prepared in a
certain order and with the same logic. While the designs of the privacy and rules
pages of the Facebook and Instagram applications were used in the double col-
umn axis, the triple column axis was used in the design of the Twitter application.
The hierarchy of large and small fonts, choosing sans serif fonts, using the areas
to be emphasized in bold or italic style, and the alignment of the paragraphs and
leaving empty spaces in order not to tire the eyes on the page coincide with the
44
TECHNICS
2022, 1(1); 21-54
basic logic of the “New Typography” approach. In the fonts in the page designs,
black is used as the color and the bold text is used as the style. While the font style
used in the subtexts is normal, the color used is gray.
White color is used on the background of the designs of the privacy and rules
pages of all three applications. Vertical lines are used to create spaces between
columns, and horizontal lines are used for sub-sections within each column to
separate the sections within the column.
Image 26. Facebook 2022 Privacy and Rules Page Design

Reference: https://www.facebook.com/settings?tab=privacy&section=composer&view
Image 27. Instagram Privacy and Rules Page Design

Reference: https://www.instagram.com/accounts/privacy_and_security/ [Access Date:
11.09.2022]
45
Image 28. Twitter Privacy and Rules Page Design

Reference: https://twitter.com/settings/privacy_and_safety [Access Date: 09.09.2022]
Conclusion
While technological developments radically change people’s lifestyles, ty-
pography, which has been an important part of human life since the invention of
writing, has also undergone a change in parallel with these developments. Typog-
raphy drew a path for itself in the shadow of social and political situations such as
war and depression in the regions it existed and created its own language.
Futurists have changed the fact that typography is a purely technical neces-
sity within certain limits by breaking the traditional practices related to the use
of typography and adopting original typography. Thus, typography has become
both a technical background and an important part of an aesthetic concern in a
free background.
By using the collage technique, Dadaist artists are one step ahead of the Fu-
turists and open the door to important associations and formations both in terms
of design and art. The artists of the Bauhaus School used basic geometric forms,
while the Constructivists adopted functionality and formed the development cir-
cles of today’s typographic formation.
In the light of all the changes that typography has experienced, when the
usage status of typography is examined, it is seen that it maintains its important
place in communication. In particular, the innovations brought by technology to
the forms of communication, a fast life brought by production, have considerably
shortened the time of accepting a message to be conveyed to people living in com-
munities. Therefore, the principle of being as simple and understandable as possible
in all communication channels (written and digital) where people are in contact and
arousing high level of interest while doing this have become important.
46
TECHNICS
2022, 1(1); 21-54
The introduction of typography on computer screens and not remaining only

in printed media pushed designers to innovate. The active use of typography in
the changing and developing communication channels with the Internet confirms
that it is now a tool of communication. In fact, we can easily say that a new ty-
pographical language has emerged with the virtual world. With the digitization
of fonts and the inclusion of computer-aided design programs, the era of digital
typography has reached its golden age. The possibility of combining text with
sound and other elements has made the New Typography an inseparable whole
with today’s design practices as a communication tool and has further increased
its effectiveness.
Especially when social media applications are examined, it is seen that the
importance of the simplification of the text, which started with the New Typogra-
phy movement, and the importance of its relationship with the ground on which
it is used, are also actively used in social media applications, and a high level of
attention is paid to the relationship of the text with the ground and its readability
by the reader.
Although social media applications have shown similarities with other social
media applications from time to time, the common feature of all social media
applications is that they prefer to use sans serif fonts and white spaces actively.
In this process, which started with the new typography, typography has be-
come an emotional phenomenon where all kinds of emotions and thoughts can
be exported by itself, getting rid of the letter strings that convey information. It
has become an art that can contain all kinds of meanings and emotions on a white
paper, and can make what is seen noticeable.
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The Heritage of New Typography and The Impact of Today’s Typography on

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The Heritage of New Typography and The Impact of Today’s

Sorumlu Yazar: Artür Vahe KARAPEKMEZ E-posta: arturkarapekmez@gmail.com

Ambrose ve Harris, 2006; Becer, 2011:92-98; Topsakal, 2018:129; Begtimur,

important composition in this whole development process and continues to do

Typography in Art Movements

Image 1. William Morris, Golden, Troy and Chaucer Types, 1888-1896.

Image 2. Otto Eckmann, Typeface Design, 1900

Image 3. Jules Chéret, Loie Fuller - Image 4. Henri de Toulouse-Lautrec, La

Image 7. F. T. Marinetti, ‘Zang Tumb Tumb’

Image 9. S. Mallarmé ‘Un Coup de Dés Jamais N’Abolira Le Hasard’, 1897

by the random arrangement of paper pieces and coincidence is an important point

Image 12. El Lissitzky, Dlya Golosa, 1923

Image 16. Theo Van Doesburg, Alphabet Design, 1919

Gropius and Moholy-Nagy published the book “Staatliches Bauhaus in Wei-

Image 17. Herbert Bayer, Universal typefaces, 1925

Jan Tschichold and the New Typography Movement

Jan Tschichold, in his book titled “Elemental Typography” written in 1925,

The Method of the Research

The most basic task of a font is to be recognizable. As Garfield points out,

Typographic Structure in Facebook Application

Image 21. 2004, First Facebook Page Design

Image 23. 2021 Facebook User Homepage Design

Typographic Structure in Twitter Application

Image 24. An Example from Twitter Profile Page.

Image 25. Instagram Web Homepage Design

Areas where Typography is Intensively Used in Applications

Image 26. Facebook 2022 Privacy and Rules Page Design

Image 27. Instagram Privacy and Rules Page Design

Image 28. Twitter Privacy and Rules Page Design

The introduction of typography on computer screens and not remaining only

Gelbal, C. (2021, 04 23). Akım Akım Sanat – Dadaizm. Gazetesanat: https://www.

Karaçor, S. (2009). Yeni İletişim Teknolojileri, Siyasal Katılım, Demokra-

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