Bierbaum, made an important contribution here. Instead of the poor and
backward-looking types of the late 19th century, true historical forms were
used. The type designers really studied these forms: after the "Sturm und
Orang" (wild and violent) shapes of Jugendstil, types gradually became
more and more moderate, until they finally reached their high point and cul
mination in the nearly totally classical forms of Tiemann-Antiqua, Ratio
Latein, Tiemann-gothic, Weiss-Antiqua. Squared-up setting continued in the
specimens of the type-foundries. although in a less pronounced form, until
the last years before the war. The increasing u3e of classical types forced
the use of a class[cal form of setting, the so-called "free" style. Highly
developed examples in this style can naturally only be distinguished from
their models by unimportant details. It must be admitted that a high quality
was achieved; a very cultivated taste indeed was needed to produce results
which so closely rivalled their models. But the difference between these
modern works and their classical models is that the models really are an
Expression of their time, whereas the imitations are the expression of a
htghly sensitive eclecticism. which is an attitude foreign to the present day.
looking for its ideal in another time and world. In contrast to the imitators of
Jugendstil. who though they may not have achieved any final success nev
ertheless tried to bring all expressions of life in their time into harmony, the
Arts and Crafts book-artists, restricting themselves to the book, and possi
bly book-like journals, became rigid with eclecticism and thus lost all con
nection with the shapes and appearances of their own time. While the
"Empire book" in all respects fitted its period, the "Arts and Crafts" book
sought to make itself a pretentious exception. Scarcely any really contem
porary solutions of contemporary problems are known. A very well known
dictionary, which appeared recently, looks like an encyclopedia of the
Rococo. It must be freely admitted that the contents of most books regarded
as of high quality at that time almost all consisted of literature from the past.
providing themes which must have been inhibiting to contemporary book
designers (the pattern-book of Hans v. Weber, the Te mpel classics).
Nevertheless it is thanks to the work of the artist-book-designers that the
taste for pure typography in books was reawakened. and that today most
publishers avoid decoration inside their books. That however is not such an
important achievement. since basic form (reine Sachform) is only a mid
point between decorated and designed form - a zero between minus and
plus. This more or less decoration-free kind of book, in its outward appear
ance, owing to its use of historical or would-be historical types, harking
back to the past, has since shortly before the war become the norm.
elle
(Elle)
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