Kunstgewerbemuseum Zürich

Ausstellung

der

Film

10. Januar bis 30. April 1960

Offen: Montag 14-18, 20-22

Dienstag-Freitag 10-12, 14-18, 20-22

Samstag-Sonntag 10-12, 14-17

00. Josef Muller-Brockmann, exhibition poster, 1960

 

Working through a text according to these principles will usually result in a rhythm different from that of former symmetrical typography. Asymmetry is the rhythmic expression of functional design. In addition to being more logical, asymmetry has the advantage that its complete appearance is far more optically effective than symmetry.

Hence the predominance of asymmetry in the New Typography. Not least, the liveliness of asymmetry is also an expression of our own movement and that of modern life; it is a symbol of the changing forms of life in general when asymmetrical movement in typography takes the place of symmetrical repose. This movement must not however degenerate into unrest or chaos. A striving for order can and must, also be expressed in asymmetrical form. It is the only way to make a better, more natural order possible, as opposed to symmetrical form which does not draw its laws from within itself but from outside.

Furthermore, the principle of asymmetry gives unlimited scope for variation in the New Typography. It also expresses the diversity of modern life, unlike central-axis typography which, apart from variations of typeface (the only exception), does not allow such variety.

While the New Typography allows much greater flexibility in design, it also encourages “standardization” in the construction of units, as in building.

The old typography did the opposite: it recognized only one basic form, the central-axis arrangement, but allowed all possible and impossible construc­tion elements (typefaces, ornaments. etc.).

The need for clarity in communication raises the question of how to achieve clear and unambiguous form.

Above all, a fresh and original intellectual approach is needed, avoiding all standard solutions. If we think clearly and approach each task with a fresh and determined mind, a good solution will usually result.

The most important requirement is to be objective. This however does not mean a way of design in which everything is omitted that used to be tacked on, as in the letterhead “Oas politische Buch” shown here. The type is certainly legible and there are no ornaments whatever. But this is not the kind of objectivity we are talking about. A better name for it would be meager­ness. Incidentally this letterhead also shows the hollowness of the old prin­ciples: without “ornamental” typefaces they do not work.

 

 

 

And yet, it is absolutely necessary to omit everything that is not needed. The old ideas of design must be discarded and new ideas developed. It is obvious that functional design means the abolition of the “ornamentation” that has reigned for centuries.

The use of ornament, in whatever style or quality, comes from an attitude of childish naivety. It shows a reluctance to use “pure design,” a giving-in to a primitive instinct to decorate — which reveals, in the last resort, a fear of pure appearance. It is so easy to employ ornament to cover up bad design! The important architect Adolf Loos, one of the first champions of pure form, wrote already in 1898:

“The more primitive a people. the more extrava­gantly they use ornament and decoration. The Indian overloads everything, every boat, every rudder, every arrow, with ornament. To insist on decora­tion is to put yourself on the same level as an Indian. The Indian in us all must be overcome. The Indian says: This woman is beautiful because she wears golden rings in her nose and her ears. Men of a higher culture say: This woman is beautiful because she does not wear rings in her nose or her ears. To seek beauty in form itself rather than make it dependent on orna­ment should be the aim of all mankind.”

Today we see in a desire for ornament an ignorant tendency which our cen­tury must repress. When in earlier periods ornament was used, often in an extravagant degree, it only showed how little the essence of typography, which is communication, was understood.

It must be understood that “ornament” is not only decorated rules and printers' flowers but also includes all combinations of rules. Even the thick/thin rule is an ornament, and must be avoided. (It was used to dis­ guise contrasts, to reduce them to one level. The New Typography, on the other hand, emphasizes contrasts and uses them to create a new unity.) “Abstract decorations” which some foundries have produced under differ­ent names are also ornaments in this sense. Unfortunately many people have thought the essence of the New Typography consists merely in the use of bold rules, circles, and triangles. If these are merely substituted for the old ornaments, nothing is improved. This error is forgivable since, after all, all former typography was oriented towards the ornamental. But that is exactly why the utmost care must be taken to avoid replacing the old floral or other ornamentation with abstract ornaments. Equally the New Typography has absolutely nothing to do with “pictorial” typesetting (Bildsatz) which has become fashionable recently. In almost all its exam­ples it is the opposite of what we are aiming for.

But it is not enough to dispense with ornament in order to create a mean­ingful form. We have already seen that even the old form that dispenses with ornament is ineffective because it is still based on the effect of orna­mental types. The form of the old typography could be taken in at a glance, even though this does not correspond with the reading process. Even if I succeed in recognizing the outline of the type matter I have not really read anything. Reading presupposes eye movement. The New Typography so designs text matter that the eye is led from one word and one group of words to the next. So a logical organization of the text is needed, through the use of different type-sizes, weights, placing in relation to space, colour, etc.

 

 

 

 

The real meaning of form is made clearer by its opposite. We would not rec­ognize day as day if night did not exist. The ways to achieve contrast are endless: the simplest are large/small, light/dark, horizontal/vertical, square/round, smooth/rough, closed/open, coloured/plain; all offer many possibilities of effective design.

The real meaning of form is made clearer by its opposite. We would not rec­ognize day as day if night did not exist. The ways to achieve contrast are endless: the simplest are large/small, light/dark, horizontal/vertical, square/round, smooth/rough, closed/open, coloured/plain; all offer many possibilities of effective design.