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Avant-Garde Page Design 1900-1950

Andel, Jaroslav

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ISBN 10: 0929445090 / ISBN 13: 9780929445090
Published by Delano Greenidge Editions
Used Condition: Used - Like New Hardcover
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About this Item

2004. Hardcover. Quarto, 388 pp, profusely illustrated. Fine. Dust Jacket is Fine. Bookseller Inventory # BR18749

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Bibliographic Details

Title: Avant-Garde Page Design 1900-1950

Publisher: Delano Greenidge Editions

Binding: Hardcover

Book Condition:Used - Like New

Dust Jacket Condition: Dust Jacket Included

About this title


The primary goal of the artist-designers who were supporters of New Typography was to create an international optical language based on clarity and functionality. Using sans serif typefaces, asymmetrical compositions, photography, and photomontage, they designed type based on the simplest geometrical forms and eliminated the use of upper-case letters. Similar to the basis of the International Style in architecture, these innovations were considered to be the foundations of a new society in which the idea that form follows function and the rational, economical use of material and technique would be important elements in the creation of an egalitarian social order. However, the New Typography and International Style were utopian movements whose works and ideas did not always survive intact in a real and imperfect world. Indeed both became corrupted by political ideology and/or the corporate system. During the 1930s the corruption of avant-garde ideas and techniques were most visible in the fusion of advertising and political propaganda: the Nazis and the Soviets co-opted the powerful images and techniques of the avant-garde. The Nazi propagandists borrowed ideas from the Communists, and the Soviet Realists and Nazi artists shared a similar approach to imagery. It was this contamination of art and ideology, as well as the atmosphere of brutal political repression, that led Tschichold and others to modify or abandon their ideas and return to classical design principles.

From the Publisher:

With networked computers gradually replacing printed pages as the primary carriers of information, we are witnessing a full-scale transition in the way we communicate. In order to more fully understand the cultural significance of this technological revolution, artists, designers, and scholars are beginning to re-examine the history of printed material. Andel’s scholarship shows how even the earliest experimenters coined innovations that remain powerful conventions of page design today, and how some, such as El Lissitzky, actually predicted the rise of electronic media.

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