redundancy that was the byproduct of traditionalism. His doctrine of
asymmetry literally stood type on its ear in an effort to garner greater
attention. His predilection for sans-serif over serif faces was based on what
he and other modernists believed were objective truths. Yet critics accused
them of perpetrating myths to support their assertions of legibility. Perhaps
the Dutch typographer Gerard Unger is correct, writing in Emigre# 23 ,
“Tschichold’s preference for sans-serifs...was based upon emotional
considerations.”
The Bauhaus and the New Typography busted the conventions
of placement and layout and eliminated ornament and symmetrical
composition. In place of the classical page appeared “constructed” sans-serif
typefaces and bold black and red rules designed to fragment the page and
control the eye. During the 1920 s the New Typography was viewed as an
extraordinary departure from commonplace design. Ultimately, though,
even it became yet another set of rules against which to rebel.
tuis.
(Tuis.)
#1