Jan Tschichold
One only needs to go back to the turn of the twentieth century to discover the roots and intertwining movements that led to what we call today the Modern Movement. The great breakthrough period a stretch of almost twenty years, that separates modern typography from earlier typographics, started with the publication of the Futurist manifesto in 1909 and peaked in the late twenties.Futurism was a violent reaction by artists and writers against the status quo which symbolised failure to make life worth living. The advent of photography, economic and social forces and new philosophical attitudes also contributed to the development of new attitudes toward communication design. The Futurists ignored the constraints of metal typography and letterpress printing. Horizontalism was out, Type at any angle was in. The big thing in Futurist design was shock and contrast. Another major departure from straight realistic thinking was the development in the early 1900’s of Cubism. This art represented objects (that weren’t totally abstract) in a new way, Still life was now envisioned as a compromise of shape and shifting volumes of planes. This was a strong departure from the 400 year old Renaissance tradition. Unlike Impressionism, Pos
. . .
Some common words found in the essay are:
Roman Egyptian, Western Europe, Typographische Gestalung, Modern Movement, Jan Tchichold, El Lissitsky, Jan Tschicholds, Basel Switzerland, Nouveau Cubism, Horizontalism Type, jan tschichold, modern movement, sans serif, twentieth century, typography 1920s, modern typography, modern movements, civilised world, modern ideals, el lissitsky,
Approximate Word count = 1595
Approximate Pages = 6 (250 words per page double spaced)
|
