Editing Jan Tschichold (section)

==Design==
[[File:Van de Graaf canon in book design.svg|thumb|left|The [[canons of page construction|Van de Graaf canon]], used in book design to divide a page in pleasing proportions, was popularized by Jan Tschichold in his book ''The Form of the Book''.]]
[[File:Medieval manuscript framework.svg|thumb|left|Depiction of the proportions in a medieval manuscript. According to Jan Tschichold: "Page proportion 2:3. Margin proportions 1:1:2:3. Text area proportioned in the Golden Section."<ref>Jan Tschichold—Posters of the AvantGarde written by Martijn F. Le Coultre and Alston W. Purvis, p. 43, Fig 4. "Framework of ideal proportions in a medieval manuscript without multiple columns. Determined by Jan Tschichold 1953. Page proportion 2:3. margin proportions 1:1:2:3, Text area proportioned in the Golden Section. The lower outer corner of the text area is fixed by a diagonal as well."</ref>]]

Tschichold had converted to [[Modernist]] design principles in 1923 after visiting the first Weimar Bauhaus exhibition. He became a leading advocate of Modernist design: first with an influential 1925 magazine supplement mentioned above); then a 1927 personal exhibition; then with his most noted work ''Die neue Typographie''.<ref>Tschichold J. Die neue Typographie. Ein Handbuch für zeitgemäß Schaffende, Verlag des Bildungsverbandes der Deutschen Buchdrucker, Berlin 1928.</ref> This book was a manifesto of modern design, in which he condemned all typefaces but [[sans-serif]] (called ''Grotesk'' in Germany). He also favoured non-centered design (e.g., on title pages), and codified many other Modernist design rules. The idea of the New was the basis for the transformation of the entire system of printed graphics and graphic design.<ref>Vasilieva E. (2022) [https://www.researchgate.net/publication/375697189_Vasilieva_E_2022_Jan_Tschichold_and_the_concept_of_the_new_a_picture_of_the_world_and_an_artistic_program_Terra_Artis_Arts_and_Design_3_34-49  Jan Tschichold and the concept of the new: a picture of the world and an artistic program] // Terra Artis. Arts and Design, 3, 34-49.</ref> He advocated the use of standardised paper sizes for all printed matter, and made some of the first clear explanations of the effective use of different sizes and weights of type in order to quickly and easily convey information. This book was followed with a series of practical manuals on the principles of [[Modernist typography]], which had a wide influence among ordinary workers and printers in Germany.<ref>Stirton, Paul (2019). Jan Tschichold and the New Typography: graphic design between the World Wars. Bard Graduate Center Gallery. New York City: Yale University Press.</ref> Yet, despite his visits to England just before the war, only about four articles by Tschichold had been translated into English by 1945.

Although ''Die neue Typographie'' remains a classic, Tschichold slowly abandoned his rigid beliefs from around 1932 onwards (e.g. his Saskia typeface of 1932, and his acceptance of classical Roman typefaces for body-type) as he moved back towards [[Classicism]] in print design.<ref>{{Cite web|url=http://www.designishistory.com/1920/jan-tschichold/|title=Jan Tschichold : Design Is History|website=www.designishistory.com|access-date=2019-05-30}}</ref> He later condemned ''Die neue Typographie'' as too extreme. He also went so far as to condemn Modernist design in general as being [[authoritarian]] and inherently [[fascist]]ic.

Between 1947 and 1949 Tschichold lived in England, where he oversaw the redesign of 500 [[paperback]]s published by [[Penguin Books]], leaving them with a standardized set of typographic rules, the ''[[Penguin Composition Rules]]''.<ref>{{cite web
 |url=http://www.dis.uia.mx/conference/2005/HTMs-PDFs/PenguinBooks.pdf 
 |title=Jan Tschichold at Penguin Books
 |author=Richard Doubleday
}}</ref> Although he gave Penguin's books (particularly the [[Pelican Books|Pelican]] range) a unified look and enforced many of the typographic practices that are taken for granted today, he allowed the nature of each work to dictate its look, with varied covers and title pages. In working for a firm that made inexpensive mass-market paperbacks, he was following a line of work — in cheap [[popular culture]] forms (e.g. film posters) — that he had always pursued during his career.{{Citation needed|date=April 2007}} He was succeeded at Penguin by [[Hans Schmoller]].

His abandonment of Modernist principles meant that, even though he was living in Switzerland after the war, he was not at the centre of the post-war Swiss [[International Typographic Style]]. Unimpressed by the use of realist or neo-grotesque typefaces, which he saw as a revival of poorly designed models, his survey of typefaces in advertising deliberately made no mention of such designs, save for a reference to 'survivals from the nineteenth-century which have recently enjoyed a short-lived popularity.'<ref>{{cite book|last1=Hollis|first1=Richard|title=Swiss Graphic Design: The Origins and Growth of an International Style|date=2006|publisher=Yale University Press|location=New Haven, CT}}</ref>