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The New Typography - The First English Translation of the Revolutionary 1928 Document (Anglais) Relié – 27 octobre 1995


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The New Typography Ranging from theoretical discussions of typography in the age of photography and mechanical standardization to practical considerations in the design of business forms, this title is suitable for designers, art historians, and all those concerned with the evolution of visual communication in the twentieth century.


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The revolutionary technical discoveries of the late 19th and early 20th centuries have been only slowly followed by man's ability to make use of his new opportunities and develop them into a new pattern of life. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Quatrième de couverture
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28 internautes sur 31 ont trouvé ce commentaire utile 
Get the Hardcover Version 3 novembre 2000
Par TerminusDad - Publié sur Amazon.com
Format: Broché
I don't want to repeat what others have already said, so here's a word of additional advice. Avoid the paperback copy and spend a few extra dollars on the hardcover version. Part of what made "The New Typography" what it was when it was printed was not only the contents inside, but the outside of the book as well. In sharp contrast to the classical title boxes on the spine of most books, 'The New Typography' was released in black cloth with silver / metallic ink on the spine, with the sans serif title reversed. Looks rather normal now, but imagine the response in the late 1920s. I have seen both the paperback version and the hardcover, and there's no comparison. If you want the total package, outside of finding a long lost copy of the first edition, get the hardcover. It's worth it, especially for purists.
13 internautes sur 13 ont trouvé ce commentaire utile 
A founding document of modern history 16 mai 2004
Par wiredweird - Publié sur Amazon.com
Format: Broché
Typographic history, at least. This book was first published in 1928, and seems to have been the founding manifesto of the "Swiss school" of typography. This is a must-read for all serious students of type, and for a few others as well.
First, the messages for typographers. The book itself is part of that message: sanserif body text, bright white paper, and geometric red and black graphics. Tschichold uses a few conventions that I quite like. Footnotes are indicated inline and at the end of the page by a heavy black mark. At first, it looked like a blot on the gray of the body type. After seeing it a few times, though, I realized that the heavy mark was very helpful for recovering my place in the reading after my eyes moved away to read the footnote. Emphasis is shown with heavy rules in the outer margins around text, much the way I mark books myself. My only complaint about the book as a whole has to do with indistinct paragraph breaks - there is clue from indentation or line spacing, so it is actually possible to miss a pragraph break altogether.
The second half of the book shows a number of examples, good, bad, and (today) historically interesting. Almost all examples are bold red and black - the first two colors to be used up in most sets of crayons. It is easy to forget that these examples were often designed for letterpress, since photocompostion barely existed as we understand the term. Despite Tschichold's passion for modernity, the style now looks as dated as Bauhaus, streamlined locomotives, and Art Deco.
The first half of the book is for typographers, but also for any modern student of polemic. Not many people have strong feelings about typography, so the ranting can be considered by itself. Tschichold's style is based on "the spirit of our age" somehow revealed to him alone, and on Germanic philosophical absolutes. It is ironic that, during the cultural purges of pre-WWII Germany, Tschichold was among those rounded up for politically incorrect artwork - another absolute in conflict with his own.
Happily, Tschichold was able to emigrate to Switzerland before war broke out. He had a long and influential career, and later regretted the strident excesses of youth that this book captures.
This is useful as a guide to typographic style, but beginners will probably get more from modern texts. It gives a very informative view of the DIN standards for paper and business correspondence. Most of all, however, it captures a time and a mentality that no longer exist, but that guided one strong school of typographic practice for over 80 years.
15 internautes sur 16 ont trouvé ce commentaire utile 
A Manifesto for a Typographic Revolution 20 septembre 2000
Par Benjamin Rowe - Publié sur Amazon.com
Format: Broché
Jan Tschichold wrote this book while still a young man, in reaction to the horrible typographic styles of the late 19th and early 20th century. As such, it is more an expression of a revolutionary spirit than a guide to good typography. The author himself rejected most of the ideas in the book a decade or so later. But it remains greatly influential, particularly in the field of graphic design for periodicals. Definitely worth reading, as a balance to the conventionality of most typographic books.
14 internautes sur 16 ont trouvé ce commentaire utile 
Good Historical Value, But No Applicable Lessons 6 juillet 2002
Par Macauley86 - Publié sur Amazon.com
Format: Broché Achat vérifié
As other reviewers have written before me, this book surely has an historical value to it. It allows the reader to have a quick glance to a particular historical moment of typography in pre-WWII Germany, written in a Marxist tone. Also, the layout of the book is a beauty in itself, with its glossy paper and sans-serif Futura font. But that is pretty much it, unless you want to read it because you are a student in History of Typography. Do not expect to learn basic or advanced typographic elements here. If you want that, read "The Elements of Typographic Style" by Robert Bringhurst instead.
8 internautes sur 10 ont trouvé ce commentaire utile 
Helpful but dogmatic 3 décembre 2004
Par David Girard - Publié sur Amazon.com
Format: Broché
This is a nice handbook for creating stark minimal layouts but the dogmatic, unwavering theory of 'objective' design is best taken with a grain of salt. Reading this reminds me of when I took painting with Modernist painter Guido Molinari and everyone around me ended painting squares out of fear of retribution. But even with his strict approach, I don't think he would have quoted a text that says "The more primitive a people, the more extravagantly they use ornamentation ... To insist on decoration is to put yourself on the same level as an Indian." While this book has some great tips on reducing clutter and improving readability, reading the 'ideals of Modern Man' stuff is like sitting through a fire and brimstone sermon. Nice diagrams.
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