EINE STUNDE DRUCKGESTALTUNG
Jan Tschichold

Jan Tschichold: EINE STUNDE DRUCKGESTALTUNG [Grundbegriffe Der Neuen Typografie in Bildbeispielen fur Setzer, Werbefachleute, Drucksachenverbraucher Und Bibliofilen]. Stuttgart: Verlag Dr. Fritz Wedekind & Co, 1930. First (and only) edition. Text in German. A very good original oversized softcover book in stiff, printed wrappers. The wrappers are an amazing textured silver paper that present a metallic sheen. The wrappers are splitting at the base of the spine and show multiple mild cross creases along the length of the spine. A very rare original book seldom offered. A LESSON IN ADVERTISING DESIGN [ fundamental ideas of the new Typography with illustrated examples for typesetters, publicists, print buyers and book designers] is the English title translation.

8.5 x 12 softcover bound volume of a paperback original with 84 illustrated pages and 18 pages of vintage trade advertisments (including a full-page ad for Tschichold and Roh's Foto-Auge). Some spot-color printing in red throughout. EINE STUNDE... is Tschichold's sequel (or real-world follow-up) to his Die Neue Typografie, where he elaborates on some of his typographic ideas and presents examples of current work that measure up to his (admittedly) high standards.

Artists who made the cut for inclusion in this volume include Hans Arp, Herbert Bayer, Max Burchartz, Johannes Canis, A. M. Cassandre, Walter Cyliax, Werner Graff, El Lissitzky, Laszlo Moholy-Nagy, Johannes Molzahn, Kurt Schwitters, Paul Shuitema, Ladislav Sutnar, Karel Tiege, Piet Zwart and other uncredited commercial artists.

Includes vintage examples of poster design, typography, photomontage, advertising, newspaper design, letterhead, logotypes, book design and more. A very rare document from the heroic first age of graphic design. Highly recommended.

In this volume, Tschichold further defined the characteristices of the new typography: 1.) freedom from tradition; 2.) geometrical simplicity; 3.) contrast of typographic material; 4.) exclusion of any typographic ornament not functionally necessary; 5.) preference for photography, for machine-set type and for combinations of primary colors; 6.) and the recognition and acceptance of themachine age and the utilitarian purpose of typography.

Sounds good to me.

out of stock