In the 1920s and 1930s, The New Typography movement brought graphics and information design to the forefront of the artistic avant-garde in Central Europe.
Letterforms were recognized by supporters of The New Typography as having formal properties alongside their linguistic function. From this simple observation, they created a system of graphic design that operated on abstract principles yet opened up limitless possibilities for layout, artistic expression, and clarity of communication. Rejecting superfluous elements and the traditional arrangement of type in symmetrical columns, designers organized the printed page and poster as blank fields in which blocks of type, bold colors (in many cases, the printed items were 2-color), and illustrations - frequently in the form of photomontage - could be arranged in strikingly asymmetrical yet harmonious compositions. With an emphasis on simplicity and directness of communication, this new movement embraced and circulated the message of modernism around the world.
Taking his lead from currents in Soviet Russia and at the Weimar Bauhaus, the designer Jan Tschichold codified the movement with accessible guidelines in his landmark book Die Neue Typographie (1928). Almost overnight, typographers and printers adapted this way of working for a huge range of printed matter, from business cards and brochures to magazines, books, and advertisements.
Although young designers are still inspired by The New Typography movement today, working in a simple direct way like that, it’s not as easy as it looks.
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