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Beginning in 1928,Tschichold also attempted to do away with two signs
for one symbol, but his attempt at designing a Universal type looked much different than
that of Bayer. He mixed both upper and lower-case letters thereby creating a single-case
alphabet. In his Universal type design Tschichold reiterates that clarity is the
highest goal. Interestingly, he also attempted to create an alphabet that would be much
more closely related to speech. This work predates Bayer's fonetic alfabet by
some thirty years. This is not unlike what concrete poetry, Dada, and Futurism were
attempting to achieve in the early part of the century. In his Futurist Manifesto, Filippo
Tommaso Marinetti states the need for this type of typographic expression one which
would more closely mirror verbal expression. |
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As it turns out much later we see Tschichold reject the values
he proposed in Die Neue Typographie. In 1959 at the Type Directors Club seminar,
Tschichold stated that “good typography has to be perfectly legible and as such, the
result of intelligent planning. The classical typefaces such as Garamond, Janson,
Baskerville and Bell are undoubtedly the most legible. Sans serif is good for certain cases
of emphasis, but is used to the point of abuse”.12 His explanation for
this “more prudent” evaluation of typography was that his earlier principles
too closely paralleled that of national socialism and fascism, indicating that he believed
that there are social implications to both graphic design and typography. |
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