The New Typography

between the free forms of the type and the compact area of black provides
the effect.
The Fagus leaflet by Herbert Bayer shows the powerful effect of pica-rules
in colour. By themselves of course they do not guarantee the result. but
they are used consciously as a means to increase the optical intensity. The
large white space on page 2 with the small Fagus trade mark is made
noticeable by the red right-angle. The arrow on the same page is used log­
ically as well as harmoniously to contrast with the grey of the type; and the
large query sign on page 3, besides by its nature indicating something
important. makes a strong and pure visual contribution. And the red circle
on page 2 is not decorative but functional; it calls attention to the firm's
details. To make filing easier the leaflet has been hole-punched: the holes
are incorporated in the typographic design.
The prospectus by Moholy-Nagy (opposite) is another thoughtful design
with great visual impact.
Besides typographical contrasts. functional use of colour can increase opti­
cal intensity. Contrast between black and white is one of the strongest and
simplest ways to achieve an effective result. Further effect can be obtained
by the use of coloured papers or card. printed in black or other colours.
Further enrichment can be got from the use of a second as well as a single
colour on white or coloured paper.
The place of colour in the New Typography has been dealt with in the sec­
tion on basics. and need not be further emphasized here.
It is especially in advertising that strong contrasts by every possible means
must be used for the most effective results. If possible these should be
obtained by exploiting the characteristics of type and photography etc.
Only when these are not enough should secondary sources of contrast
(borders. rules. points) be resorted to. The intentionally very different kinds
of design shown here in the two advertising leaflets by Burchartz and Canis
are examples of this. On the "werbe-bau" leaflet the heavy form of the sym­
bol and the firm's name contrast with the small type in the open panel
above and the isolated panel in the middle. The broken appearance of the
short lines just above and below "werbe-bau" are in effective contrast with
the tightness of the rest of the type. In the "fiihrt" leaflet, the angled para­
graph and the repetition of "1 00%" (in green and black) are used as means
to gain effect.
An exceptionally 1mportant role is played in modern typography. and espe­
cially in poster design, by the use of photographic blocks. The invention
has introduced a new epoch in graphic design, in whose beginning we now
first find ourselves. Nearly everything formerly achieved by drawings,