interesting contrast with Die neue Typographie. A work of theory, rather
than a practical manual, its discussion is consistently general, as if from a
level above that of the pointed specificity of Tschichold's writing (even at
its most theoretical).54 While of approximately the same size and number of
pages, the design of the two books is markedly different. Although set in a
sanserif (his own Futura), Renner's book still feels conservative: text set in
quite a large type-size and well leaded, prin ted on an uncoated cartridge
paper, while the pictures are prin ted on an art-paper section at the end. By
comparison, in content and in its own form, Die neue Typographie is more
severe and more committed to a new vision.
Closer in spirit to Tschichold's book was Gefesselter Blick (which might be
translated as "captured glance"), a sequence of "25 short monographs"
edited by Heinz and Bodo Rasch.55 This book contains short introductory
considerations of "the image" and "letters," followed by its main content of
the monographs: a short biography of the designer, a statement (signed
with a facsimile signature), and examples of work. Among the twenty-five
participants, the Ring "neue werbegestalter" designers were all repre
sented, and the book and an accompanying exhibition in Stuttgart were
arranged with the collaboration of the Ring. Tschichold's statement of posi
tion was very bri ef: "In my graphic design, I attempt to achieve maximum
purposefulness [ZweckmafSigkeit] and to unite the individual component
parts harmonically: to design [zu gestalten] ." By comparison with Die neue
Typographie, in which Tschichold is the sole mediator and reporter,
Gefesselter Bl ick, in its anthology or group character, is an even clearer
indication of New Ty pography as a movement.
The Bildungsverband der Deutschen Buchdrucker published another hand
book in 1929 : Grundsatzliches zur neuen Typographie by Philipp Albinus.
This short work (52 pages, just smaller than A5 format) points up, by con
trast, the qualities of Die neue Typographie. The book includes some ideo
logical references, as well as instruction about design, but Albinus (a
printer) was without the formal sensitivity and verbal eloquence that
marked Tschichold. The same can be said of the book Modern Typography
and Layout (1 929) by the American printer Douglas McMurtrie: an early,
stray treatment of the subject from the English-language world.
TSCHICHOLD'S EMIGRATION
Early in March 1933, Tschichold was taken into "protective custody" by the
recently installed National Socialist authorities in Germany.5 6 He was
included in the crack-down, soon after Hitler's seizure of power, against
those termed "cultural bolsheviks" and other opponents of the regime.
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