The New Typography

effect can be produced using only areas of colour and ordinary line blocks.
On rough papers which (except in offset printing) are not suitable for
halftone blocks, photography has to be replaced by functional (non-artis­
tic!) drawing. The two pages opposite from a Pelikan special number show
what a fine result can be achieved in this way.
In the two works by Molzahn and Schwitters and the catalogue by Kassa k
we are moving out of the field of pure typography and coming close to
painting. It is dangerous for printers to ventu�e into this area, since such
work demands an _exceptionally deep study of the laws of space, propor­
tion. colour. and form. It would be better to entrust such work to an artist
with relevant experience.
Just as photography is finally only a part of typography, whose effect is
achieved by its harmony with the whole, so it is possible to enrich typogra­
phy with. for example, graphic reproductions or original graphics, as in the
exhibition catalogue by Franz W. Seiwert. Here. to achieve visual balance
on the double spread. the black square below left became necessary.
So any available block (even if of little artistic value) and any typographic
element (so long as it is not merely for ornament) can be used in the New
Typography; it simply depends on introducing them harmoniously into the
whole.