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10 TypographyForeign Rights CatalogueHans Rudolf BosshardThe Typographic GridImpulses for type designers2nd edition200 pagesmore than 300 illustrations and gridschemes29.5 × 23.6 cmClothbound with dust jacketEnglish/GermanEuro (D) 78.–, (A) 80.20, CHF 98.–ISBN 978-3-7212-0340-0Licenses sold:ChineseThe typograhic grid is a child of constructive art. This book offers a collection of abouttwo dozen typographic works of the author including books, brochures and art catalogues.The works, documented in schematic drawings and many individual illustrations,are not meant to be recipes; instead, they should provide the reader with impulses ofhow he himself can set design processes in motion from the outset. The many-sidednessof design with grid systems should be made manifest.Hans Rudolf BosshardDer Typografiestreit der ModerneMax Bill kontra Jan TschicholdMax Bill vs. Jan Tschichold – Controversiesover the “New Typography”120 pagesmore than 60 illustrations15 × 22 cmClothbound with dust jacketGermanEuro (D) 29.80, (A) 30.60, CHF 38.–ISBN 978-3-7212-0833-7Licenses sold:FrenchAs soon as aesthetics are concerned – or, in general, aspects that cannot be weighedand measured – differing opinions and controversies are unavoidable. Significant exponentsof typography have again and again stated their opinions on the applicability offonts, the use of ornamentation or the ideal type area. The author Hans Rudolf Bosshardoffers some historic examples for this – from Bodoni and Bertuch to Morris and Morison– before focusing on the so-called “modern typography debate” between Max Billand Jan Tschichold, which took place in 1946. This controversy created a significant stiramong typographers back then and is still a matter of interest today.What triggered the dispute was a lecture held by Tschichold in which he renouncedhis former commitment to the “new typography” and advocated a return to traditionaldesign. Max Bill was disappointed by this change of mind of one of the pioneers of the“new typography” and saw in it an attack on modernity as such. Each of the two subsequentlyblamed the other of endorsing Nazi aesthetics. This heated dispute, which inthis book is looked at in detail for the first time, took place in the publication SchweizerTypographische Mitteilungen.With numerous illustrations and an epilog by Jost Hochuli.