Jan Tschichold

Recent articles about Jan Tschichold

Weimar volumes

Issue 91, Spring 2016

Review

The musical Cabaret gave a popular view of Berlin between the two world wars;…

A tradition with breaks

Issue 86, Autumn 2013

Feature

Stencil typefaces – late arrivals on the typographic scene – are going in new directions and…

Buy this book

Issue 58, Winter 2005

Feature

Jürgen Holstein’s volume of rare Weimar-era jackets and covers is an extraordinary labour of love…

Out of hand

Issue 80, Summer 2011

Feature

Handwriting is a touchstone in the history of graphic design, where lettering meets the messy…

Electrifying the alphabet

Issue 62, Winter 2006

Feature

At the dawn of the computer age, new functions ushered in new forms for type design

Pre-postmodernity

Issue 50, Winter 2003

Feature

Does a small book from nearly 30 years ago encapsulate a ‘golden age’?

Why Helvetica?

Issue 40, Summer 2001

Feature

Despite the changes provoked by the digital ‘revolution’, designing a typeface for serious…

Max Bittrof: visual engineer

Issue 9, Summer 1993

Feature

Max Bittrof was one of the leading German designers of the 1920s. Unlike many exponents of the New…

What has writing got to do with design?

Issue 9, Summer 1993

Opinion

We canonise the giants of design history as champions of total authorship, while overlooking the…

High thoughts on a self-effacing art

Issue 7, Summer 1992

Review

‘To begin with, let us enumerate what is repulsive and therefore wrong.’ Thus…

Recent blog posts by Jan Tschichold

The calm collector

24 February 2016

A new collection of Steve Hare’s writing demonstrates an erudite passion for the design and content of Penguin Books
The late Steve Hare (1950-2015) was one of those writers that every editor appreciates, writes John L. Walters.

Five strategies tabled in Eindhoven

27 October 2014

Van Abbemuseum throws new light on Jan van Toorn’s critical design practice
Homage exhibitions are inherently celebratory, writes Francisco Laranjo. However ‘Staging the Message: The Open Work of Jan van Toorn’, now at the Van Abbemuseum in Eindhoven, the Netherlands until 18 Jan 2015, offers a critical challenge to that tradition.