Directory

Editors: Prof. Dr. Petra Eisele, Prof. Dr. Isabel Naegele and Dr. Michael Lailach für die Hochschule Mainz und die Kunstbibliothek, Staatliche Museen zu Berlin

In 1929, ten years after the Bauhaus was founded, Berlin’s Martin­Gropius-Bau launched the exhibition Neue Typografie (New Typography). László Moholy-Nagy, who had left the Bauhaus in Dessau the previous year and had earned a reputation as a designer in Berlin, was invited to exhibit his work together with other artists. He designed a room entitled »Wohin geht die typografische Entwicklung?« (Where is typography headed?) – where he presented 78 wall charts, for which he not only used his own designs, but also included advertising prints by colleagues associated with the Bauhaus.

The functional graphic design, initiated by the New Typography movement in the 1920s, broke with tradition and established a new advertising design based on artistic criteria. It aimed to achieve a modern look with standardized typefaces, industrial DIN standards, and adherence to such ideals as legibility, clarity, and precision, in line with the key principles of constructivist art.

For the first time, this comprehensive publication showcases Moholy-Nagy’s wall charts which have recently been rediscovered in Berlin’s Kunstbibliothek. Renowned authors provide insights into this treasure trove by each contributing to this alphabetized compilation starting with »A« for the typeface »Akzidenz-Grotesk« and ending with »Z« for »Zinc plate«.
https://www.verlag-kettler.de/programm/moholy-nagy-und-die-neue-typografie https://www.smb.museum/ausstellungen/detail/laszlo-moholy-nagy-und-die-neue-typografie/

Editors: Petra Eisele, Annette Ludwig, Isabel Naegele,
Publisher:Laurence King London (GB)

FUTURA by Paul Renner has shaped the perceptions of modernity and the future like no other typeface. It was the only sans serif typeface that was cast and produced in all weights, grades, and fonts. Created in the second half of the 1920s, the typeface initially conquered Germany, and then quickly blazed a trail of success around the globe.

What was and remains the secret of the success of this typeface, which was constantly newly adapted to different eras and (also politically) different cultures and that remains popular and widely used to this day?
www.futura-typeface.de

Editors: Petra Eisele, Isabel Naegele, Annette Ludwig
Publisher: Verlag Hermann Schmidt, Mainz

FUTURA by Paul Renner has shaped the perceptions of modernity and the future like no other typeface. It was the only sans serif typeface that was cast and produced in all weights, grades, and fonts. Created in the second half of the 1920s, the typeface initially conquered Germany, and then quickly blazed a trail of success around the globe.

What was and remains the secret of the success of this typeface, which was constantly newly adapted to different eras and (also politically) different cultures and that remains popular and widely used to this day?
www.futura-typeface.de https://typografie.de/produkt/futura/

Editors: Isabel Naegele, Petra Eisele, Annette Ludwig
Publisher: Niggli (CH)

"New Typefaces. New Typefaces" offers insights into the fascinating world of type design. Positions of contemporary typeface design are presented in words and pictures: Important protagonists report on their thinking and work, so that current developments under the new technical, aesthetic and socio-political conditions can not only be presented, but also evaluated. This publication presents positions of contemporary typeface design in words and pictures: Important protagonists report on their thinking and work and present their works, some of which have won awards. In its entirety, the publication thus documents not only the high level of professionalism but also the serious enthusiasm that drives type designers today.
www.niggli.ch/Produkt/neue-schriften-new-typefaces/

Editors: Petra Eisele und Isabel Naegele
Publisher: Niggli (CH)

TEXTE ZUR TYPOGRAFIE brings together theses, manifestos and position statements on 20th century typography in the German-speaking world. Important protagonists and discourses are presented, but also heated discussions about typography: about 'German type', the 'modern man', legibility, lower case or the consequences of digitalisation. TEXTE ZUR TYPOGRAFIE provides an index of bibliographical data, selected text excerpts as well as original reprints of the texts from books and journals on a 1:1 scale - the book can thus also be 'read' visually as a canon of book design.
www.niggli.ch/en/produkt/texte-zur-typografie/