Jan Tschichold embraced extremes. His work, most notably “Die Neue Typographie”, embraced and defined modernist typographic ideas. At his most provocative Tschichold only condoned the use of sans serif type. Later in his life he condemned his own pro-modernist stances as too militaristic, comparing them to the thinking of the Nazis which compelled Tschichold to leave Germany.
Regardless of his dichotomous views and styles, Tschichold’s work showcases attention to detail and an emphasis on communication that has proven to be lasting. Because of his strong ideological stances Tschichold is one of the most defining voices in 20th century typography.
“Jan Tschichold: Master Typographer: His Life, Work & Legacy”, takes on a daunting task. To characterize Tshcichold’s varied career, designs, and life requires the unification of extremes. As a result, the book is forced to take the long view. But it does so in a way that allows for some scrutiny of details. The collection of essays focuses on Tschichold’s early training, modernist writings, modern poster designs, classic designs at Penguin, and the rethinking of his Sabon into Sabon Next. The focus on specific facets of Tschichold’s career yields some interesting insights.
Unfortunately, the multiple author format also produces some redundancies. Almost all of the essays begins with an explanation of Tschichold’s upbringing, and mentions his need to flee Germany under Nazi regime. While important to any Tschichold history, reading the same details gets tiresome. Furthermore, Tschichold condeming all serifed type is mentioned at least three times in the book. While not surprising — its a striking quote — it showcases the drawbacks of multi-essay compilations like this one.
Regardless of these shortcomings “Master Typographer” works. Doubleday’s essay on Tschichold’s work for Penguin, during which Tschichold designed today’s Penguin logo and unified their cover designs, introducing the iconic Penguin Paperbacks, is particularly interesting. Possibly because of Penguin Paperbacks recent resurgence in popularity, but more likely because of the intimate details of the essay. Original notes, sketches, and a detailed chronology give stunning insight into the remaking of the Penguin Paperback. A discussion on Tschichold and poster design succeeds on the same fronts. A detailed chronology of Tschichold’s poster designs brings us hidden gems of modern poster design. Sadly, the broad analysis of the posters leaves something to be desired. By highlighting these two essays I don’t mean to discount the others in “Master Typographer”. With the exception of the section on Sabon Next, which is mainly a feast for the eyes, each section is an insightful examination of Tschichold’s character and works.
For all of the successes of “Master Typographer”, I think it’s fair to note that it would be difficult to write a book on Tschichold that wasn’t at least a bit compelling. Tschichold was an opinionated man who led an amazing life. At one point changing his name to Iwan as a sign of support for the Russian Revolution; writing and exploring with the likes of Moholy-Nagy, El Lissitsky, and Renner; fleeing Nazi Germany; and taking part in Post-War reestablishment of printing in England. Tschichold’s life is amazing.
I see this volume as an enticing introduction to Tschichold, and a insightful companion to the Tschichold follower. Tschichold remains a largely unrecognized figure in modern design outside of type circles. I’m hopeful that compilations like “Master Typographer” work to strengthen his legacy.
Lastly, the designers of Master Typographer, Corine Teuben and Cees W. de Jong, deserve praise. The layout and composition in Master Typographer are top-notch.
Chris Hamamoto is a visual designer in San Francisco. He co-designed Typographica.org.
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