Jan Tschichold was a renowned 20th century typographer and graphic designer. He is known for reinventing the design of Penguin Books and advocating for principles of typography and design that broke from classical styles. Tschichold valued precision and exactness in design. Although he rejected constraints of traditional styles, his own designs were precisely balanced and integrated text and images. Decades after his death, interest in his work and principles is growing as their influence on visual culture is recognized.

1. Florence Margaret Paisey
Jan Tschichold
Precision, perfection and print characterize Jan
Tschichold’s illustrious vocation as a typographer and
graphic designer. Trained initially as a calligrapher, his eye
for exactitude developed, leading him through a diversity of
perspectives that included the modernist view, Russian
constructivism, and finally to a post-modernist
sensibility. Although this plurality of attitudes – reflected
both in Tschichold’s writings and design – encompass the
tenets of these schools, he clearly values the formalism (in
the sense of exactness) associated with each.
Tschichold’s groundbreaking work, “The New
Typography” is an impassioned statement that calls for a
complete break from past typographic principles and
style. Rejecting the constraints present in the tightly
organized and classical mise-en-page, he sets forth principles
resonate with those of free verse. Yet, even in his

2. protestations against classical, formal structure typified by
masterworks of the past, Tschichold is explicit and exacting
in his freedom. His type is precisely defined, placed and
balanced on a page. His design, even when asymmetrical,
balances relationships between textual inscriptions, their
size and weight, as it is integrated with images. The poise
inherent in his design captivates the eye while also
communicating visually.
In kicking off this bibliographic foray into Jan Tschichold,
his name had loomed in memory – mostly for his
achievement in reinventing the design of Penguin
Books. Furnishing an overview of his accomplishments and
influence seemed perfectly manageable. One learns.
Tschichold’s reputation rests among the greats in
typography, graphic design and book design, but only within
limited circles. However, his influence, along with other
modernists and post-modernists, has affected visual culture
both subliminally and palpably.

3. Esteemed in his lifetime for innovations in typography
and graphic design, his prominence is, once again, rising.
More than thirty years after his death, his principles of
typography and book design are garnering attention and
momentum. Richard Hollis recently wrote a remembrance in
honor of his achievement in 20th century design. Hollis
pointed to Tschichold's titanic importance as a twentieth
century typographer and a resurgence of interest in his
achievements. Recent publications on Tschichold are
numerous.
Having reviewed the enormity of his influence and
prominence as well as his principles and perspective on the
the mise-en-page, typography and materiality, it is clear that
further study can potentially bear rich fruit, providing fresh
insight into contemporary visual and graphic culture. In
performing this, paradoxically one will also grasp those
classical principles he disavowed, but are unmistakably
evident within his precision.

4. Bibliography: A Brief Overview of Tschichold’s Influence
Birdsall, David. Notes on Book Design. New Haven: Yale
University Press, 2004. Print.
Bringhurst, Robert. The Elements of Typographic
Style. Vancouver: Hartley & Marks, 2004. Print.
Bringhurst, Robert. The Elements of Typographic Style
applied to the Web. Online.
Bruckner, D. J. R. "On Our Good (and Bad) Books." Design
Quarterly 155 (1992): 29- 33. Print.
Bungard, Brigitta. "Rediscovering the New
Typography." Inside/Out 12 (2010) New York: MoMA.
Burke, Christopher. Active Literature: Jan Tschichold New
Typography. London: Hyphen Press, 2008. Print.
---. The Art of Typography. London: Hyphen Press, 2008.
Print.
Chappell, Warren, and Robert Bringhurst. A Short History
of the Printed Word. Vancouver: Hartley & Marks, 1999.

5. Print.
Charchar, Alex. "Jan Tschichold". New York, 2009.
“Refections of the Joyous Elegance of Graphic Design &
Creative Thought.” Retinart. 2012.
Constantine, Mildred. "The Poster Collection." The Bulletin
of the Museum of Modern Art 18.4 (1951): 2-16. Print.
Day, Kenneth. Book Typography: 1815-1965 in Europe and
the United States. Chicago: University of Chicago, 1965.
Print.
De Jong, Cees W. Jan Tschichold, Master Typographer: His
Life, Work and Legacy. London: Thames & Hudson,
2008. Print.
Doubleday, Richard B. Jan Tschichold Designer: The
Penguin Years. New Castle, Delaware: Oak Knoll Press,
2006. Print.
Frascara, Jorge. "Graphic Design: Fine Art or Social
Science?" Design Issues 5.1 (1988): 18-29. Print.
Godfrey, Jason. 100 Classic Graphic Design Books:

6. Bibliographic. 2009. Print.
Hutner, Martin. A Century for the Century: Fine Printed
Books 1900-1999. New Hampshire: David R. Godine,
2004. Print.
"Jan Tschichold." Encyclopedia Britannica. 2012.
Jubert, Roxane, and John Cullars. "The Bauhaus Context:
Typography and Graphic Design in France." Design
Issues 22.4 (2006): 66-80. Print.
Kinross, Robin. "Emigre Graphic Designers in Britain:
Around the Second World War and Afterwards." Journal of
Design History 3 (1990): 1. Print.
Kinross, Robin, and Richard Hollis. "Conversation with
Richard Hollis on Graphic Design History." Journal of
Design History 5.1 (1992): 73-90. Print.
Lupton, Ellen. Letters from the Avant Garde. New York:
Princeton Architectural Press, 1996. Print.

7. ---. Thinking with Type: A Critical Guide. Design
Briefs. New York: Princeton Architectural Press, 2004. Print.
Lyon, Christopher. "The Poster at the Modern: A Brief
History." MoMA 48 (1988): 1-2. Print.
McLean, Ruari. Jan Tschichold: A Life in Typography. New
York: Princeton Architectural Press, 1997. Print.
Moran, James, ed. Printing in the 20th Century: A Penrose
Anthology. New York: Hastings House, 1974. Print.
Martijn F. Le Coultre and Alston W. Purvis. Jan Tschichold:
Posters of the Avante Garde. Trans. Mader, Don. Basel:
Birkhäuser Architecture, 2003. Print.
"Printing and the Mind of Man." Ed. British Museum. Earl's
Court, London: Bridges & Sons LTD and The Association of
British Manufacturers of Printer's Machinery LTD, 1963.
Print.

8. Spencer, Herbert. Pioneers of Modern Typography. London:
Lund Humpheries, 1969. Print.
Storkerson, Peter. "Jan Tschichold and the Language of
Modernism." Visible Language 30.3 (1996): 314-29. Print.
Tschichold, Jan. "Something About Book Design." Design
Issues 9.2 (1932): 77-79. Print.
---. "Chinese and Japanese Colour Wood-Block
Printing." Leonardo 4.1 (1971): 75-79. Print.
---. The Form of the Book: Essays on the Morality of Good
Design. Trans. Hadeler, Hajo.Graphic Design in the
Postmodern Era. London: Hartley & Marks, 1997. Print.
---. The New Typography: A Handbook for Modern
Designers. Trans. McClean, Ruari. Berkeley:
University of California Press, 2006. Print.

9. Twyman, Michael. Printing: 1770-1970. London: Eyre &
Spottiswoode Ltd, 1970. Print.
---. "Assymmetric Page Design in Lithgraphed Books of the
Nineteenth Century: The Convergence of Manuscript and
Printing." Journal of Design History 5.1 (1992): 5-17. Print.
Vanderlans, Rudy, ed. Emigre No. 70: The Look Back
Issue. 1st ed. Berkeley: Gingko Press, 2009. Print.
Wilson, Adrian. The Design of Books. New York: Reinhold,
1967. Print.