Mantex

Tutorials, Study Guides & More

  • HOME
  • REVIEWS
  • TUTORIALS
  • HOW-TO
  • CONTACT
>> Home / Design / Design history

Design history

19th and 20th century design

19th and 20th century design

19th and 20th century design

Art Nouveau

April 21, 2010 by Roy Johnson

short-lived but influential design from the Belle Epoque

Alastair Duncan points out in his introduction to this beautifully illustrated study, that Art Nouveau was not a style but a movement which was a reaction against the stuffy over-decoration of the nineteenth century. It took its early inspiration from the work of William Morris, Arthur Mackmurdo, and Walter Crane, and fused these with an enthusiam for Chinoiserie and Japonisme. And as a movement it errupted very suddenly in the 1890s, spread throughout Europe and even top the USA – and then ended just as abruptly in the first decade of the new century.

Art NouveauIt was known by a variety of names in different countries – Jugendstil in Germany, Art Nouveau in English-speaking countries, Stile Liberty in Italy (after the famous London store) Modernista in Spain, and Style Metro in France, after Guimard’s Underground entrances.

The main features of Art Nouveau were the adoption of flowing, organic forms and the use of floral or vegetable decorative motifs. Even those who followed the severely vertical forms of a designer such as Mackintosh nevertheless chose tulips, poppies, and dragonflies as their embellishments.

After a general introduction, separate chapters of this study are devoted to the manifestation of Art Nouveau in architecture, furniture, graphics, ceramics, jewellery, and sculpture. In architecture, many of the commissions gained by Guimard, Van der Velde, Mucha, and Gaudi are still visible in the Parisian storefronts, the Metro entrances, and of course Gaudi’s buildings in Barcelona – plus the enormous Sagrada Familia which is still under construction (and currently giving town planners headaches).

The furniture that was created at the same time was supposed to be matched in its decorative detail with the buildings for which it was designed – to demonstrate an organic and integrated aesthetic. But most of the tables, cabinets, armoires, and sideboards tend to be illustrated in isolation from their surrounds. Too much ornamentation in a room tends to take it back into the Victorian excess from which Art Nouveau was supposed to be an escape.

Mucha posterStrangely enough, there was no Art Nouveau school of painting, mainly because it constituted an approach to design. It was in the realm of posters, woodcuts, illustrated books, and typography that it made its greatest impact, and there are excellent examples of posters by Lautrec, Mucha, and Bonnard. These were works which gave birth to the figure that came to symbolise fin de siecle Paris and la Belle Epoque – a young woman with serpentine hair, clad fashionably in jewelled or feathered headgear and wearing immense sweeping skirts, all of which flowed abundantly to fill the frame of the picture. It’s amazing to realise that these romantically stylised images were being used to advertise such mundane objects as bicycles, wine, household soap, and cigarette papers.

The field of decorative glassware was dominated by two figures – Gallé in France and Louis Comfort Tiffany in the USA. The American developed new techniques from his foundry on Long Island:

By mixing up to seven colours, trown together from different ladles, his staff could produce a giddy range of blended hues, many mottled or deeply veined to simulate nature’s ever-changing moods and palette. The sheets obtained were often treated with an iridescent surface finish created in a heating chamber, where an atomised solution of metallic vapours was sprayed onto the final piece. The process gave a kaleidoscopic lustre to the glass, which became a principal characteristic of the firm’s domestic wares.

In ceramics the the novelty elelment was in the application of subtle and complex glazes, but the vases, plates, and jugs are still recognisable Art Nouveau from the curvilnear plant forms and decorative leaves and tendrils cast into their surfaces.

The jewellery section is dominated by the French master of jouillerie, Lalique. He brought the setting of precious stones to a high art by the intricacy of his decorations and the inventiveness of his symbols.

There’s a good bibliography and index, but a future edition might usefully include a glossary of terms for the general reader. It’s not always easy to work out the differences between a selette, a guéridon, and an étagère.

Art Nouveau Buy the book at Amazon UK

Art Nouveau Buy the book at Amazon US

© Roy Johnson 2010


Alastair Duncan, Art Nouveau, London: Thames and Hudson, 2010, pp.236, ISBN 0500202737


More on architecture
More on technology
More on design


Filed Under: Architecture, Art, Design history, Product design Tagged With: Art Nouveau, Cultural history, Design, Modernism

Bauhaus

June 16, 2009 by Roy Johnson

Design history: Weimar, Dessau, Berlin 1919-1933

The Bauhaus was a major landmark in the development of modernism in the early years of the last century. In concept it grew out of the German desire to form its own version of the English Arts and Crafts movement, but it quickly became influenced by constructivism and expressionism. As a movement it grew rapidly in Weimar, despite the economic recession in Germany in the 1920s – and it embraced all forms of design – typography, ceramics, furniture, architecture.

Bauhaus Its principal teachers and movers are now household names in their respective disciplines – painters Wassily Kandinsky, Paul Klee, and Lionel Feininger; architects Walter Gropius and Mies van der Rohe; designers Joseph Albers and Laszlo Moholy-Nagy. What made them different to earlier design movements was that they wished to make their products available for industrial production.

This is the first full-length study of the movement and its participants to be based on the papers of the Bauhaus archive – many of which are reproduced in this elegantly designed book which does its subject proud in terms of page layout and typographic design. Magdalene Droste traces both the artistic policies which were constantly changing as key personnel came and went, as well as the political and economic difficulties of keeping the institution afloat – most of which was achieved in its first phase by Walter Gropius.

The structure of the book follows the policies under its three directors – Gropius, Mayer, and van der Rohe on its three sites, Weimar, Dessau, and Berlin.

I hadn’t realised before that the curriculum also included drama, which produced mechanical ballet and abstract theatre which still seems quite avant garde now, eighty-odd years later. There are some wonderful pictures of the products of the institute: the first really modern furniture; stained glass, pottery, and rugs; plus some exquisite tableware by Marianne Brandt, who for me is the outstanding discovery of this collection.

brandt_02
Gropius presciently observed: “Much of what we today consider luxury will tomorrow be the norm” – and its true that looking at the (for then) ultra-modern chairs, tables, and kitchen cabinets is hardly any different to thumbing through a contemporary IKEA catalogue. Some of their designs were commercially successful, particularly their best-selling wallpaper designs, many of which are still in production today.

The Bauhaus is perhaps known best for its influence on modern architecture, and yet strangely enough that subject was not taught there until a demand for it was made by students and then implemented by Mies van der Rohe. Droste’s detailed accounts of the classes taught there and the examples of work produced make you wish you could sign up as a student.

The latter part of her story deals with the intense battles which went on between left and right-wing political forces over the future of the Bauhaus. These ended in 1933 with the victory of the Nazis and the closure of the institution.

If there is a weakness in this scholarly piece of work, it’s that the story is not taken beyond there. For we know that many of the principal figures involved emigrated to America and continued their work in the New World . But you have to stop somewhere, and any shortfall is made up for by the quality of the illustrations,

I spotted this book in a display on modernism at Waterstone’s, selected it as the best on offer, and was amazed when I saw the price. It’s another in the astonishingly cheap and high quality publications from Taschen

© Roy Johnson 2007

Bauhaus Buy the book at Amazon UK

Bauhaus Buy the book at Amazon US


Magdalene Droste, Bauhaus, London: Taschen, 2006, pp.256, ISBN 3822821055


More on architecture
More on technology
More on design


Filed Under: Architecture, Design history, Graphic design, Product design Tagged With: Architecture, Bauhaus, Design, Product design

Bauhaus 1919-1933

October 22, 2009 by Roy Johnson

modernist design movement

Bauhaus was a design movement which sprang up in Germany in post 1914-1918 as a reaction to the efflorescent curlicues of la Belle Epoque. It emphasised (particularly in theory) rectilinear practicality, function over form, and a political element of art for the masses rather than a privileged few. Most of its designers were of course middle-class artists who were caught up in the revolutionary fervour of the Weimar Republic – but its greatest strength in terms of enduring design is that many of its creations are still in production today. Wallpapers are still in print, vintage retro table lamps are either being reproduced at exorbitant prices, or are trading on eBay for not much less.

Bauhaus 1919-1933This is an excellent presentation of the work done there – for a number of reasons. First, it shows a wide range of products – from paintings, furniture, and architecture, to photography and household effects. Second, the illustrations are fresh and well researched. There are illustrations here I have never seen before in books on the subject. And third, there is plenty of historical depth and context, including original photos of the Bauhaus studios and the people who taught there.

The staff list is like a roll call of modernism at its highest – architects Walter Gropius and Mies van der Rohe, designer Herbert Bayer, painters Wassily Kandinsky, Paul Klee, Joseph Albers, and Lionel Feininger, artists El Lizitsky and Moholy-Nagy, plus the constructivists Vladimir Tatlin and Alexander Rodchenko. I was also glad to see that the book included work by the wonderful and much under-rated product designer Marianne Brandt.

marianne brandt

The format of the book is simple and effective. Double page spreads are arranged with explanatory text on the left and colour illustrations on the right. Just the right sort of proportion for this type of book. Full details of each item are provided, and there are links to further information in the appendices.

The range of items is quite astonishing. There are buildings (the Bauhaus workshops themselves) designs and photos of completed architectural projects, furniture, wall hangings, paintings, advertising posters, household objects such as electric lamps and tea sets, rugs, children’s toys, and photographs.

However, form and function were not always harmonised as successfully as they might have been. It has to be said that even a design ‘classic’ such as Gerrit Ritvelt’s armchair (1918) looked as modern as modern could be in 1918 – but as design critic Victor Papanek observes

These square abstractions painted in shrill primaries were almost impossible to sit in; they were extremely uncomfortable. Sharp corners ripped clothing, and the entire zany construction bore no relation to the human body

But the overwhelming impression one takes from a collection like this is of design inventiveness working at all levels – from architecture, interior and furniture design, through fabrics and furnishings, down to graphics and typography.

In fact much of today’s architectural design is directly attributable to the influence of the Bauhaus designers. Rectilinear buildings, minimalist interiors, walls made from glass bricks, bentwood furniture, ceiling to floor windows, uncarpeted hard surface floors. Moreover, the spirit of Bauhaus functionality lives on in the products and styles of stores such as Habitat and IKEA.

I got an email only the other day offering copies of the famous Barcelona chair (Mies van der Rohe 1929) for a mere $3000 – only they called it the ‘Madrid’ chair just to cover themselves. So the spirit of the Bauhaus is definitely alive and doing commercially well today thank you very much.

Bauhaus Buy the book at Amazon UK

Bauhaus Buy the book at Amazon US

© Roy Johnson 2009


Andrew Kennedy, Bauhaus, London: Flame Tree Publishing, 2005, pp.384, ISBN 184451336X


More on architecture
More on technology
More on design


Filed Under: Architecture, Design history, Graphic design, Product design Tagged With: Architecture, Art, Bauhaus, Cultural history, Design, Graphic design, Interior design

Charleston Saved 1979-1989

May 25, 2010 by Roy Johnson

restoring a Bloomsbury decorated house

Charleston is a farmhouse near Lewes, Sussex which was once the home of Clive Bell, his wife Vanessa, and her lover Duncan Grant. Leonard and Virginia Woolf were frequent visitors from their own country property at Monk’s House in nearby Rodmell. Other members of the Bloomsbury Group such as Lytton Strachey, David Garnett, and Maynard Keynes were regular visitors.

Charleston savedIt is most famous for the fact that Vanessa Bell and Duncan Grant covered the entire surface of the house – walls, fireplace, cupboards, tables, chairs – with their decorations and paintings, an impulse that was also part of the Omega Workshops movement initiated by Roger Fry around the same time during the first world war. [A subsidiary purpose of the house was to act as a refuge for conscientious objectors to the war.]

The house was famously damp and rather uncomfortable, but Duncan Grant went on living there until his death in 1978 – at which point it was in a state of neglect and dilapidation. This book is an account of the restoration project made to bring the hopuse back to life – ‘from the Broncoo toilet paper to the Bakelight electrical fittings’. Indeed throughout the whole project there was a constant debate over the relative merits of re-creating the original or saving what was left, which was a very expensive option.

There’s a great deal of fund-raising by the great and the good, but the real interest of Anthea Arnold’s account is in how a decaying over-decorated farmhouse can be pulled back from the brink of disintegration whilst preserving its spirit and integrity. There was much to be done against death watch beetles, mold, dry rot, and general decay.

At some points the narrative becomes a somewhat bizaare mixture of raffle prizewinners at fundraising events sandwiched between detailed technical accounts of replastering walls using goat’s hair bonding agents.

Charleston - fireplace and overmantle

Chapters are ordered by the objects and materials being restored – furniture, ceramics, fabrics, stained glass, pictures, the garden – and most problematic of all, the original wallpaper. Yet desite all the nit-picking over minor details of wallpaper pattern repeats and curtain fabrics, the house was re-opened to the public without the fundamental problem of rising damp having been solved. Plaster had to be cut back to the bare wall more than once.

There was quite a lot of disagreement over the wisdom and accuracy of the restoration. Why spend tens of thousands of pounds preserving rotting wallpaper when the original designs could easily be reproduced? In the end, the argument for authenticity prevailed – so long as there were sufficient US-funded endowments to sustain it.

Anyway, the project finally succeeded, and Charleston is now a thriving visitors’ centre, and the location of an annual arts festival. So – Bloomsbury fans apart, this is a book that could appeal to public relations buffs and fundraisers, or to fans of Grand Designs or property restoration specialists.

Charleston Buy the book at Amazon UK

Charleston Buy the book at Amazon US

© Roy Johnson 2010


Anthea Arnold, Charleston Saved 1979-1989, London: Robert Hale, 2010, pp. 144, ISBN: 0709090188


More on art
More on design
More on biography
More on the Bloomsbury Group
Twentieth century literature



Filed Under: Architecture, Art, Bloomsbury Group, Design, Design history Tagged With: Bloomsbury, Charleston Saved, Design, Duncan Grant, Modernism, Omega Workshops, Vanessa Bell

Design Since 1900

June 30, 2009 by Roy Johnson

encyclopedia of modern design and designers

This is a comprehensive guide to all aspects of modern design. It covers graphics, consumer products, interior decor, furniture, print, advertising, plus industrial and architectural design. Entries run from the Finnish designer Alvar Aalto (who for obvious reasons always comes first in such listings) through Rene Lalique (glassware) and the multi-talented Hungarian Laszlo Moholy-Nagy, to typographist Hermann Zapf and Piet Zwart (who for the same reason always comes last).

Design Since 1900Most entries are illustrated by thumbnail graphics. It’s a shame they are not in colour, but you can’t expect everything in such a good-value production. The entries are either brief biographical sketches of individual designers (Saul Bass, Charles Eames, Raymond Loewy, Alexandr Rodchenko) with notes on why they have been so influential. There are also short histories of companies famous for their emphasis on design (Bauhaus, General Motors, Olivetti, Wiener Werkstatte).

Others include influential artistic movements (art deco, constructivism, neo-plasticism, and post-modernism) and individual products which have become icons of modern design (the Citroen DS19, Dyson vacuum cleaners, Tatlin’s Monument to the Third International).

There are notes on materials of manufacture (aluminium, formica, MDF, polyurethane) movements and schools (Deutsche Werkbund, Omega, and Black Mountain College) and explanations of technical terms such as anthropometrics, bit mapping, deconstruction, and third age design (which isn’t quite what you might think).

He even includes individual shops such as Biba, Habitat, and the Body Shop; typographists such as Neville Brody, Eric Gill, and Jan Tschichold. The only thing missing is Information Technology. There are a couple of mentions of computer games, but curiously enough not a single reference to Web design.

The text incorporates extensive cross-referencing, suggestions for further reading, and a chronological chart of design highlights since 1900.

© Roy Johnson 2004

Design Since 1900   Buy the book at Amazon UK

Design Since 1900   Buy the book at Amazon US


Guy Julier, Design Since 1900, London: Thames and Hudson, 2004, pp.224, ISBN: 0500203792


More on design
More on media
More on web design


Filed Under: Design history, Graphic design, Product design Tagged With: Decorative arts, Design, Design Since 1900, Graphic design, Product design

Dictionary of Modern Design

July 28, 2009 by Roy Johnson

design, designers, products, movements, influences

This Dictionary of Modern Design is a serious textual resource on design matters, written by somebody who is quite clearly steeped in his subject. Jonathan Woodham is Professor of the History of Design at the University of Brighton, and this compendium has all the hallmarks of being a summation of a lifetime’s work. It’s an A to Z compendium of entries which run from architects and designers Alvar and Aino Aalto, through to typographer and book designer Hermann Zapf. It covers the period from the mid-nineteenth century to the end of the twentieth.

Dictionary of Modern Design There are over 2,000 entries on names and movements from the past 150 years of design. The only weakness is that there are hardly any illustrations – something they might rectify in a second edition. Individual entries are a mixture of individual designers – Paul Rand, Milton Glaser, and Jan Tschichold, plus movements such as Bauhaus, Omega workshops, and Wiener Werkstatte, to specific products such as The Dyson vacuum cleaner, Levi Strauss jeans, and the bathroom fittings suppliers Villeroy and Boch.

There are also entries on materials (polypropylene) places (Museum of Modern Art) events (Festival of Britain) institutions (the Design Institute) and even individual products such as Barby, the wonder doll, plus entries on companies (Habitat, IKEA) product strategies (flatpacks) materials (Formica) typographists (Eric Gill) and even shops (Biba and Healds).

Individual entries are punctuated by occasional pull-out boxes which define movements and general terms – such as art deco, constructivism, kitsch, neo-modernism, and streamlining. The entries are presented in a plain and uncluttered prose style, with cross references to related items:

Lissitsky, El (Lazar Markovich Lissitsky 1890—1941) The Russian *Constructivist typographer, graphic designer, architect, painter, photographer and theorist El Lissitsky was influential in the dissemination of *Modernism both through his work and his theoretical writings. He studied architecture and engineering under Joseph Maria *Olbrich and others at the Technical School at Darmstadt between 1909 and 1914, visiting Paris, the hub of avant-garde artistic activity, in 1911. He moved back to Russia to practise architecture in 1914, but also worked in the fine arts and illustration, underlining notions of his concept of the ‘artist-engineer’…
[and so on]

It’s a shame there aren’t more illustrations, but there’s a huge bibliography which reflects the scholarly provenance, a timeline which puts design events from 1840 to the present into a social and political context, and a comprehensive bibliography.

© Roy Johnson 2006

Dictionary of Modern Design   Buy the book at Amazon UK

Dictionary of Modern Design   Buy the book at Amazon US


Jonathan M. Woodham, A Dictionary of Modern Design, Oxford: Oxford University Press, 2006, pp.544, ISBN: 0192806394


More on design
More on media
More on web design
More on information design


Filed Under: Design history, Dictionaries, Graphic design, Product design Tagged With: Design, Dictionaries, Dictionary of Modern Design, Graphic design, Product design, Reference

Graphic Design 1870-2000

July 23, 2009 by Roy Johnson

a century of poster and advertising design

Graphics 1870-2000 is a compact account of the history of commercial graphic design and image-making from the end of the nineteenth century to the present day. It covers graphic design in the UK, France, Germany, Holland, Belgium, Russia, and the USA. All the major movements are covered – from Art Nouveau, Dada, Constructivism, De Stijl, and Bauhaus, right up to the as-yet-unnamed movements at the end of the last century, with generous entries on Paul Rand, Neville Brody and David Carson, plus recent development in the digital age.

Graphic DesignEvery page is a visual treat: well-chosen graphics illustrate every point of the exposition. The examples are fresh and original. There are even page decoration elements on the supporting theoretical documents reproduced along with the index

What I particularly liked about Alain Weill’s account is that the graphic innovations he traces are related to developments in the products they are advertising or the methods by which they are manufactured.

He also has a good eye for detail and can spot a significant novelty which becomes a turning point in design history – such as Lucian Bernhard’s removal of all extraneous detail to focus on brand name and product in the Sachplakat.

sachplakat

He is the former director of the Musée de la Publicité in Paris, and it is quite obvious from this that he has a deep knowledge and love for his subject.

Two issues emerge as sub-themes here. The first is the close link between graphic design and architecture – another discipline which is trying to do several things at the same time. The second is the close relationship between commercial and fine art. This might have dwindled somewhat towards the end of the last century, but it is still present in the work of people such as David Hockney.

It’s a shame it’s in such a small pocket-book format, because I think the elegantly designed pages deserve to breathe in a larger format. But the upside of this is that it’s very good value at a knock-down price.

© Roy Johnson 2004

Graphic Design 1870-2000   Buy the book at Amazon UK

Graphic Design 1870-2000   Buy the book at Amazon US


Alain Weill, Graphics: A Century of Poster and Advertising Design, London Thames and Hudson, 2004, pp.160, ISBN: 0500301166


More on graphic design
More on web design
More on technology
More on digital media


Filed Under: Design history, Graphic design Tagged With: Graphic design, Graphics 1870-2000

Romantic Moderns

October 14, 2011 by Roy Johnson

writers, artists, and the English sense of place

Romantic Moderns is a major piece of work by a young cultural historian with a free-ranging approach to her subject. It’s a study of a particular strain in English art that Alexandra Harris correctly describes as ‘romantic’, and illustrates as permeating every aspect of cultural life. The period she covers is the late 1930s through to the immediate post-war period. It would be interesting to know if the title of the PhD on which the book is based had a sub-title more specific than the one she provides here – because ‘from Virginia Woolf to John Piper’ is rather wide in scope. After all, Woolf was born in 1882, and Piper lived until 1992 – so that’s a span covering the late Victorian era, two world wars, and the digital age.

Romantic ModernsHer writing is certainly lively and entertaining. She throws off multiple references that explode like fireworks in almost every paragraph. A consideration of architecture leads to books on buildings, then pictures of buildings, and on to novels that feature them. This cultural enthusiasm is both a strength and a weakness, because whilst the names, titles, and references come thick and fast, it’s sometimes difficult to identify the main point of her argument.

She’s fizzing with information, but I was sometimes longing for an overview or a generalization. The nearest I spotted was that the people she discusses were all interested in the relationship between ‘art and place’.

She covers an astonishingly wide range of topics. Subjects include English country houses (of the Brideshead type) seascapes, Victorian revivalism, cuisine and gastronomy, the BBC, literary criticism, watercolour painting, music, travel writing, film, landscape gardening, and even the weather.

The artists whose work she discusses include John Betjemann, Eric Ravilious, Cecil Beaton, Edward Bawden, Paul Nash, Benjamin Britten, and Graham Sutherland – and those are just some of the best known. She also deals with a whole host of lesser figures – architects, film-makers, milliners, and interior designers,

It’s a world of country gardens, southern seascapes, churches, and images of a bucolic past. There are no cities, motor cars, iron foundries, or telephones in the iconography of this view of the world. Almost all topographical references come from below a line drawn between the Severn and the Wash. In fact you could be forgiven for thinking that the whole of English culture had been generated within the boundaries of Sussex.

The other worrying and recurrent problem in her approach is that modern English romantic art began much earlier than the late thirties in which she pitches most of her comment. The Georgian poets, water-colourists, and engravers all got under way in the second decade of the century, as a reaction to the brutality of the first world war and a sense that an idyllic past was being lost.

She makes a brave case for pastoral romanticism being an enduring feature in English culture, but it is based on selective (though widespread) evidence, and a nostalgic enthusiasm for a view of the world based on the village green. This can be seen as embarrassingly conservative at a time of Hitler’s extermination of Jews, Stalin’s show trials, and the onset of a fully mechanised second world war.

Her capacity for detail uncovers some interesting points – such as T.S. Eliot exchanging views on blood and soil with anti-Semitic and eugenics-supporting Viscount Lymington. It was but a small step from this to Eliot’s belief in religious notions of ‘continuity’ and nationhood. But the arguments on inherent (almost genetic) national feeling for pastoralism are somewhat dented when she cites the work of Bill Brandt, who was German, and Eliot himself, who came from St Louis, Missouri – not East Coker.

The latter part of the book deals with an unashamed celebration of the glamour and romance of the large English country house, focusing on its presence in the work of Elizabeth Bowen, Osbert Sitwell, and Evelyn Waugh. This doesn’t add a lot more to what has gone before, except to intensify an overt nostalgia for disappearing aristocratic worlds.

It might seem churlish to dwell on the weaknesses of such an enthusiastic and beautifully written study, but I think it would be patronising to a work pitched at this level not to take its arguments seriously enough to question them. Anyway, the book is already a runaway success, and its rich cream pages and high quality colour illustrations are sure to delight anyone who buys it.

Romantic Moderns Buy the book at Amazon UK

Romantic Moderns Buy the book at Amazon US

© Roy Johnson 2012


Alexandra Harris, Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper, London: Thames and Hudson, 2010, pp.320, ISBN: 0500251711


More on literature
More on the novella
More on literary studies
More on short stories


Filed Under: 20C Literature, Art, Bloomsbury Group, Design history, Literary Studies Tagged With: Art, Bloomsbury Group, Cultural history, English literature, Literary studies, Modernism, Romantic Moderns

The New Typography

July 20, 2009 by Roy Johnson

classic design manifesto of the Modernist movement

Jan Tschichold [pronounced ‘Chick-old’] was a typographist and graphic designer whose life and work straddled two eras. He was born in Leipzig in 1902, and moved to Berlin to be part of the modernist (and left wing) artistic movement which centred round the Bauhaus in the 1920s. There he met and worked with all the important figures of the Modernist movement – Laszlo Moholy-Nagy, El Lissitzky, Kurt Schwitters – whose work in graphic design is used profusely throughout this book. In 1947 he emigrated to the UK and amongst other things designed the re-launch of the Penguin paperback series that became so successful.

The New TypographyDie Neue Typografie was first published in Berlin when Tschichold was only twenty-six years old, yet it represented – as Robin Kinross explains in an elegant and scholarly introduction – “the manifestation in the sphere of printed communication of the modern movement in art, in design … which developed in Central Europe between the two world wars.”

This is the first publication of an English language version. It has been reproduced in a physical form as closely as possible to the original – a square shape, black cover, glossy pages, sans-serif font, and greyscale illustrations with occasional red titles. Very futurist.

Tschichold looks at typography in a historical context, then explores the developments in twentieth century art and the rise of modernism. The principles of the new typography are then explained as a revolutionary movement towards clarity and readability; a rejection of superfluous decoration; and an insistence on the primacy of functionality in design.

tsch-01There are chapters on the use of photographs; the standardisation of paper sizes [the origin of the DIN A4 we all use today] lots of carefully analysed examples of business stationery, and even film posters which evoke the visual ethos of the inter-war years. All this is illustrated by some crisp and still attractive reproductions of everyday graphics – letterheads, postcards, catalogues, and posters – in the red, black and white colour-scheme characteristic of the period.

Tschichold writes in the vigorous and ‘committed’ manner common to left-wing prose of the time – full of exhortations and generalisations, mainly focussed on the heroes of the New Age:

The engineer shapes our age. Distinguishing marks of his work: economy, precision, use of pure constructional forms that correspond to the functions of the object. Nothing could be more characteristic of our age than these witnesses to the inventive genius of the engineer, whether one-off items such as: airfield, department store, underground railway; or mass-produced objects like: typewriter, electric light-bulb, motor cycle.

Tschichold is also part-responsible for the Modernist ditching of capital letters in favour of all lower-case. Typographic novelty was perhaps sought more vigorously in Germany, because of their continued use of Blackletter or Fraktur (even into the post 1945 period).

The ornate yet corseted ugliness of European typography at the beginning of the twentieth century needed vigorous cleansing and exercise, and functionalist modernism appeared to be the goad and caustic required.

This edition contains not only examples of Tschichold’s revisions to the original text and a multi-language bibliography, but an excellent introduction by the translator Robin Kinross which puts the book in its historical perspective. This is a historic document, a manifesto, a key theoretical document of Central European modernism, and an important reprint. It’s a must-have for anyone with a serious interest in typography or design.

© Roy Johnson 2002

The New Typography   Buy the book at Amazon UK

The New Typography   Buy the book at Amazon US


Jan Tschichold, The New Typography: A Handbook for Modern Designers, Berkeley: University of California Press, 1998, pp.236, ISBN: 0520071476


More on typography
More on design
More on digital media


Filed Under: Design history, Individual designers, Typography Tagged With: Die Neue Typografie, Graphic design, Jan Tschichold, Modernism, The New Typography, Typography

The Struggle for Utopia

July 5, 2009 by Roy Johnson

 Rodchenko,  Lissitzky, Moholy-Nagy 1917-1946

This is a series of essays tracing the development of three ground-breaking artists who deliberately harnessed their design skills during the highpoint of modernism to the service of revolutionary social change. The first chapter of The Struggle for Utopia offers an analysis of Alexander Rodchenko‘s designs for public information kiosks, comparing them with El Lissitzky‘s for new forms of paintings and books. This points to the essentially conservative ideology underlying some of Rodchenko’s work, in distinction to El Lissitzky’s attempts to break into new ground. The next deals with the work and theories of the German constructivists – Moholy-Nagy and Lissitzky who had moved to Berlin from the Soviet Union.

The Struggle for UtopiaThere were lots of theoretical wranglings amongst the artists and many bold claims made for the social and even revolutionary meanings in their works. Nevertheless, a simple connection between artist’s belief or intention and its manifestation on canvas or print remains as illusive as ever it will be. And if these abstract paintings dropped out of the sky unsigned, their meanings would be even more intractable.

This is followed by a chapter on Rodchenko’s work between 1922 and1927 when he gave all his creative energy to the cause of ‘production art’ – the design of socially useful objects such as furniture, books, magazines, exhibitions, and advertising posters. His furniture was never put into production [through no fault of his own] but his graphic design was a big success, was hugely influential, and is still fresh as paint today.

Next comes a comparison of the pioneering work in photography done by Rodchenko and Moholy-Nagy in the 1920s. Then Margolin tackles the difficult task of trying to find positive things to say about the work Rodchenko and Lissitzky produced as propagandists during the black years of the Stalin period. He does his best, but it’s difficult to take seriously the pictures of smiling ethnic minorites and the construction of the White Sea Canal when we now know the brutal truth of what was going on.

Rodchenko amazingly survived until 1956, though he produced nothing more worthy of note. Moholy-Nagy moved to Chicago where he influenced a whole generation of product desgners in his new Bauhaus Institute of Design.

This is a scholarly work with a full apparatus of citations, references and footnotes. It’s also beautifully designed, illustrated, and printed – as befits the subject matter. My only carp is that I wish a list of further reading had been extracted from the dense thicket of footnotes which cluster at the bottom of almost every page of the book. I want to read more: make it easy for me to follow up.

© Roy Johnson 2000

The Struggle for Utopia   Buy the book at Amazon UK

The Struggle for Utopia   Buy the book at Amazon US


Victor Margolin, The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy 1917—1946, Chicago: University of Chicago Press, 1997, pp.259, ISBN: 0226505162


More on design
More on media
More on web design


Filed Under: Design history, Graphic design, Individual designers, Product design Tagged With: Constructivism, Design theory, El Lissitzsky, Graphic design, Moholy-Nagy, Rodchenko, The Struggle for Utopia, Theory

  • 1
  • 2
  • Next Page »

Reviews

  • Arts
  • Biography
  • Creative Writing
  • Design
  • e-Commerce
  • Journalism
  • Language
  • Lifestyle
  • Literature
  • Media
  • Publishing
  • Study skills
  • Technology
  • Theory
  • Typography
  • Web design
  • Writing Skills

Get in touch

info@mantex.co.uk

Content © Mantex 2016
  • About Us
  • Advertising
  • Clients
  • Contact
  • FAQ
  • Links
  • Services
  • Reviews
  • Sitemap
  • T & C’s
  • Testimonials
  • Privacy

Copyright © 2025 · Mantex

Copyright © 2025 · News Pro Theme on Genesis Framework · WordPress · Log in