A selection of graphics from Bauhaus publications

27/11/09 – A selection of diagrams and information graphics from Bauhaus publications by Gropius, Itten, Kandinsky , Klee, Moholy-Nagy, Schlemmer, et al. (more…)

Le Corbusier: Towards a new architecture (1923)

16/09/09 – Excerpts from Le Corbusier’s Vers Une Architecture (1923), first English translation (Towards a New Architecture) 1927. (more…)

Karel Teige a typografie: asymetricka harmonie (2009)

28/06/09 – Monograph for Czech artist and designer, Karel Teige (1900-1951): Karel Teige a typografie: Asymetricka harmonie (2009) by Karel Srp, Polana Bregantova and Lenka Bydzovska. Text in Czech. (more…)

Czech and Japanese matchbox labels

29/01/09 – PIE books, Japan: Cesky Filumenisticky Design (2005) and Japanese Matchbox Label Collection 1920s-40s (2004). Text in Japanese. Maraid’s matchbox labels on flickr//

Jan Tschichold’s The New Typography

Excerpts from Jan Tschichold’s Die neue Typographie (1928):

Introduction

“The ‘form’ of the New Typography is also a spiritual expression of our world-view. It is necessary therefore first of all to learn how to understand its principles, if one wishes to judge them correctly or oneself design within their spirit.” (7)

“The illustrations in this book, with few exceptions examples of practical work, prove that the concepts of the New Typography, in use, allow us for the first time to meet the demands of our age for purity, clarity, fitness for purpose, and totality.” (ibid.)

“Modern man, whose vision of the world is collective-total, no longer individual-specialist, needs no special reminder of the rightness of being closely aware of such related activities as modern painting and photography. I therefore thought it desirable to say something more about this new way of viewing our world, in which our spiritual conception of the new forms are linked with the whole range of human activity.” (8)

Growth and Nature of the New Typography
a) The new world view:

“Construction is the basis of all organic and organized form: the structure and form of a rose are no less logical than the construction of a racing car –both appeal to us for the ultimate economy and precision. Thus the striving for purity of form is the common denominator of all endeavour that has set itself the aim of rebuilding our life and forms of expression. In every individual activity we recognize the single way, the goal: Unity of Life!” (13)

“Typography too must now make itself part of all the other fields of creativity. The purpose of this book is to show these connections and explain their consequences, to state clearly the principles of typography, and to demand the creation of a contemporary style.” (ibid.) (more…)