lettering and layouts was not formalized as a
Left:
foundry face or under any clear rules, such as
John Heartfield, book cover
those set out by Tschichold or Morison. But one
montage. Juxtaposed elements
influential Art Deco-related publication was A.
and squeezing meaning out of
Tdmer’s Mise en Page, published in Paris. which
seen in their familiar context.
design, 1929, pioneered photo
forms that would never have been
set down principles for the advertising designer and printer and had a practical, commercial application that made it more successful than the more substantial theoretical positions of Tschichold and the Bauhaus designers. It emphasized the need for a clarity and boldness in execution that could give maximum impact to an advertisement. In this it offered a synthesis of the new typography and the old. In a decade, work from art theory had become.
1920 | 81