Volume 16–1.pdf

30
TYPOGRAPHIC
COMMUNICATIONS
Typographic
Communications TOday,
a special review produce4
and sponsored by
International Typeface
Corporation and USelc,
Edward M. Gottschall,
editor and author.
256 pages. 103/4" x14 3/4 1:
Over 900 illustrations,
more than 500 in col
plus full alphabet
showings of over 20
typefaces. Hardbound.
The MIT Press.
$55.00 until June 30.
$75.00 thereafter.
TODAY
oday, thanks to
typographic design work of
this century and a pleasurable
reminder of the many
different and successful
approaches to communication
problems.
Typographic
Communications Today II. ROOTS—EVOLUTION
computers and is not a tutorial, not a how- AND REVOLUTION
computer con- to. It is a critical review of FROM CONSTABLE
trolled devices, hun- twentieth century typo- TO KANDINSKY
dreds of thousands, graphic design. It aims to The painting/typograperhaps
millions, open eyes and minds to the phy connection. Traditional
of people with little or no potential power of typogra- representational painting.
art/design training or expe- phy when it is skillfully Impressionism. Postrience
are called upon to handled, and to do so by Impressionism. Expressionmake
typographic design examining the roots of con- ism. Fauvism. Art Nouveau.
decisions. temporary typographic Cubism. Futurism. Dadaism.
The aim of Typo- design and the work of out- Surrealism. Abstraction.
graphic Communications standing typographic Non-Objective Art.
Today is dual—to:
1. Develop in people new
designers all over the world.
The table of contents of
the book indicates its scope
III. ORDER OUT OF
CHAOS
VI. FINE TUNING:
CLARITY AND THE GRID
SYSTEM
What is a grid? The
influence of Theo Balmer,
Max Bill, Emil Ruder, Josef
Muller-Brockmann, Armin
Hoffmann, Walter Herdeg,
in Switzerland. The grid
system emigrates. The Italian
connection and the role
of Studio Boggeri, Max
Huber, Xanti Schawinsky,
Carlo Vivarelli, Albe Steiner,
Bruno Munari, Giovanni
Pintori, and others. Anton
Stankowskii, work in Stutt-
Available from the
publisher and its
outlets or from the
BookShop. This
presentation in [WIc
is a synopsis and a
review of the book.
to communication design a
respect for the power of
and approach:
The Russian Avant
Garde. Suprematism. Con-
typography to— PREFACE,
structivism. Fine art/
■make information BY AARON BURNS graphic design links. The gart. Typographies of Ernst
more attractive, more
noticed, more widely read;
■be more legible, more
readable;
save money by occupying
less space than typewritten
documents, and
reducing reproduction,
filing, distribution costs;
enhance the tone of a
message by employing the
appropriate typeface and
weaving it into a design well
suited to the message, the
medium and the audience;
is achieve the desired
emphasis of key points in a
message;
■improve message com-
INTRODUCTION
I. THE MANY FACES OF
TYPOGRAPHIC DESIGN
Vitality and dynamism.
Clarity and order. Disorder
for its own sake. Typographic
irregularity with a
purpose. Customized nondogmatic
typographies.
Vitality/clarity, a blend.
Order and graphic redundancy.
Complexity and distinctiveness.
Symbology,
directness, uniqueness,
appropriateness. What is
ideal? Typographic noise.
A myriad of looks.
De Stijl movement in the Schneidler, Ladislav
Netherlands. Theo van Sutnar, Karel Teige, Karl
Doesburg. Piet Mondrian. Gerstner.
Piet Zwart. Paul Schuitema.
VII. THE NEW
H. N. Werkman. Art Deco.
TYPOGRAPHY CROSSES
IV. THE FOCAL POINT— THE OCEAN
THE BAUHAUS Thumbnail sketches of
Origins. Concept. dozens of the influential
Typography at the Bauhaus. typographic designers who
Johannes Itten, Laszlo brought their approaches to
Moholy-Nagy, Herbert contemporary typography
Bayer, Joost Schmidt. The to the United States and
roles of van Doesburg and Canada.
El Lissitzky. The end of the
VIII. AMERICAN
Bauhaus. Its impact then
DESIGN PIONEERS
and now.
Paul Rand. Bradbury
V. SPREADING Thompson. Lester Beall.
THE WORD: William Golden.
prehension and retention.
JAN TSCHICHOLD
2. Offer to art directors,
designers and all type specifiers
and users a one-stop
review of some of the best
Tschichol& role in
teaching and practicing
typographic orderliness,
asymmetry, and the use
of sans serif typefaces.
HEADLINE/INITIAL: ITC MODERN NO 216 LIGHT, MEDIUM ITALIC BYLINE: MEDIUM ITALIC TEXT: MEDIUM SUBHEADS. BOLD