The New Typography

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ing from basic form and proportion -when applied to our field produced the new typography. In Germany it was principally Willi B ...

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paraphrase of the poem's content. Printers also are inclined. without justi­ fication. to reject th1s sort of thing out of hand. ...

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retreated into a silence that meant acceptance. because they had nothing to say. The outcome of the struggle reveals once more h ...

It was left to our age to achieve a lively focus on the problem of "form" or design. While up to now form was considered as some ...

The essence of the New Typography is clarity. This puts it into delib­ erate opposition to the old typography whose aim was "bea ...

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ing from the top to the bottom. One must therefore. in general. not set a following body of text higher than the preceding one - ...

The old typography did the opposite: it recognized only one basic form. the central-axis arrangement. but allowed all possible a ...

thick/thin rule is an ornament. and must be avoided. (It was used to dis­ guise contrasts. to reduce them to one level. The New ...

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beginning of the principal name is not specially indicated. All form must correspond with meaning and not contradict it. In asym ...

ally, i.e. the physiological effect peculiar to each colour is used to increase or decrease the importance of a block of type, a ...

newest designs such as Erbar and Kabel, are inferior to the old anonymous sanserifs, and have modifications which place them bas ...

3taftut 8d)wabad)er eotifcl) Griechlsch Cyrllllsch (= Russlsch und Bulgarlsch) TUrklsch (= Arablsch) Chlneslsch (= .Ja_panlsch) ...

will remain the exception. In su_ch cases the text face will be a good roman, and sanserif will be reserved for emphasis. Even m ...