Karl Gerstner: Designing Programmes Programme as Programme as Programme as Programme as hology RPE typeface typography picture method Alec Tiranti Ltd.Programme es Logit Instead of solutions for problems, programmes for so- jutions ~ the subtitle can also be understeadin these terms: fornoprobiem (soto speak) is there an absolute solution. Reason: the possibilities cannot be delim- ited absolutely, There is elways a group of solutions, ‘one of which is the best under certain conditions. To describe the problem is part of the solution. This implies: not to make creative decisions as prompted by feeling but by intellectual criteria, The more exact and complete these criteria are, the more creative the work becomes. The creative process is to be reduced to an act of selection. Designing means: to pick out determining elements and combine them, Sean in these terms, designing calls for method, The most suitabte | know is the one Fritz Zwicky has developed, although actually his is intended for scientists rather than designers. (Die morphologische Forschung, 1953, Kommissionsverlag, Winterthur) | have produced the diagram below in accordance with his instructions and, following his terminology, | have called it the morphological box of the typogram. It contains the criteria the parameters on the left, the relative com- ponents on the right « following which marks and signs are to be designed from letters. The criteria aro rough. As the work proceeds, of course, they are to be refined as desired. The compo- nents ara to b@ made into parameters and new com- Ponants are to be specified, etc. Moreover, they are not only rough, they are also not self-contained. The component “something else” is the parcel in which the left-overs are packed ifthe parameter does not break down neatly. The designations are imprecise in some cases. Ther are many imperfections. But itis, rocisely in drawing up the scheme, in striving for Perfection, that the work really lies. The work is not ‘diminished; itis merely transferred to another plane. Tho inadequacy of this box is my own and not inherent in the method. Even so: it contains thousands of solutions which - as could be shown by checking an example ~ are arrived at by the blind concatenation of Components. Itis a kind of designing automatic. Basis 7/4 Components | 11. Word | 12. Abbreviation] 18 Word group | 14. Combined 2.Typetace | 21, Sans-senf | 22. Roman 23. German | 24, Some other | 25. Combined | | [s. Technique | 31. Written 32, Drawn 33. Composed | 34. Some other | 35. Combined b Colour |. Shage 11, Light 12.Medium | 18. Dark 414. Combined 2. Value 21. Chromatic | 22. Achromatic | 28, Mixed 24. Combined Appearance 1, Size 11, Small 12. Modium — | 13. Large 14, Combined 2.Proportion | 21. Narrow 22. Usual 28. Broad 24, Combined 3.Boldness | 31, Lean 32. Normal | 9. Fat A, Combinied 4.Inclination | at. Upright | 42. Oblique d_ Expression i ‘Reading | 1, Fromioft | 12.fromtop | 19. Frombottom| 14. Otherwise | 15. Combined direction to right to bottom ‘totop 2. Spacing 21. Narrow 22. Normal 23. Wide 24. Combined [a Form 81, Unmodified | 32. Mutilated Projected | 34. pomelfand 35, Combined oe i ] nn mbined | aay Something | 43, Something | &4.Something | 45. Com! i sion ee 42, Something | 48 Somethl Samet |ters as points of crystallizatio 11. dwar) ~ 99. (Sans-serif) 33. (composed) all those in the section "Expression by the fg 14. (ehades combined, viz. light and dark) ~ 12. examples: (achromatic) € 12, (size immaterial, therefore medium) ~22. (pre- “Reading direction” determines the expe i portion usual) ~ 83. (fat) ~ 41. (roma) typograms Krupp and National Zeitung. n both i 6 14. Grom feft to right) - 22. (normal spacing) -3$. stances the component d 15 (combined) forms (orm unmodified) - 43, (something replaced, basis. In Krupp d 14 (1rom loft to right) is combines viz, the face of the lotter r by superimposition of with d 14 (otherwise, |, ©, from right to ie) the two parts of the werd). In the case of National Zeitung the components ar 412 and 13. Incidentaly, the typogram for Bech & Notall the components are of equal importance; only tronic Centeo dotonys here, see page 48, two are actually decisive: b 14+ 443. "Spacing", once again combined in the component is determining in Braun Electric and Autohredit AG inter i ttsr IVUAy KRUPP 196" 24 ag Y - ~ SS Cy =. % 2 _ Braun ElectricInternationalSA Me, OK R EdD! 1044, Gl 2 (muti eyner, Wievoll?. In od, here fra: per d 39 (projected, here on a 7d 84 (Something else, the form is ‘mutilated or projected, rily silhouetted). dea of “design” means something more than is - To take an cxampie: in Auto AG, ho cropping of the crossber of the A's cannot be iiod a thutilation nor a form operation either. ithe iorm is mutifated, the components are preserved. Thats not the case in this instance, The form as th is Berthold sans-serif but “something is omit- tod”. The reverse applies to the case of FH (Fédé- ration Horlogére Suisse): here “something is addod” namely, the Swiss cross withia the letters. In the case of Rheinbricke there is "something replaced”: the part of the word "briicke"” (bridge) by the sign conveyed by “form” a A yh Prbyay at The read will have noticed that the! running right theough the examples below: the rela tionshie between form and contont Basically, every typogram can be produced in two ways: firstly, through the word sense (ta Interpret the meaning) and secondiy, through the word picture (to take the formal data as the point of departure). would need a second, a semantic box, (0 bring this within a system. Its components can be found in the examples given here Say: the solution for National Zeitung is the porcep- tion of a formal rotation, Krupp is alliterary interpreta: tion (Look back to the past, look forward to the future), In Autokredit the word credit (payment over @ long torm) is represented. In Globotyper tine typeface sug- gests the typewriter and the projection suggests the sphere (it was originally a name for the IBM spherical head typewriter). “Abfave” and “wievoll?” symbolize the idea, et 2Propramme from the Far Middle Ages | pass the Cathedral every day on my way to work, building contains same typical Gothic spectali- +s, An example is providod by the pointed archos of ntury ctoisters reproduced below: a werfect mnple of the joyful (ang artful) way the Gothic de. signers went to work, vu, because it gave them pleasure to create com- siieated patterns in profusion. Artlul, bocause they tempered the complicacy to the beholder and con- ceaied the profusion. That is: none of the 16 windows {ono is missing in the picture) is identical with another; simply becauso somebody wanted to have fun (a whim, perhaps, of the head artisan) Each window is a dosiga initself based on an exact programme of con- stants and variants, Tho Programme: Tho matorial and execution are proscribed the dimen- sions, oullinas, including the voriieal tripartition up to the springing line of the arch There aro 16 difleront ornamontal patterns to be designed in tho triangle of tha arch and they must be related from the following points of viow: the profiles of the lines and the joining together of the bundles of linos are in pringipie all alike ~ the tracing of the tines must bo adapted organically to the outling and also to the vertical tripartition ~ the lines moot aithor at right anglos to each other (or to tho periphery) or run into each other at O degrees ~ there must bo no rosidual forms; that is, each line must form a self-contained pattern on two sides.Integral typography A now label? The typographical aspect of a new ism No, this is just what is not meant. Tio times of both pioneers and isms, ace over. After the adventurers of tho ‘toons and the twentios we are the setters, the colonizers The continent of modern creation is not only discov red, butit already figures on various maps, Isms are tke countries of the spiritual map, each one with a border separating it from tho othors as in a school geography ~ and like everything in school books right and wrong at the same time. For today the border- lings between isms are beginning to be obscured. And what interest us are not so much the surround: ing constructions as the matter itself, the individual achievement which stands finally behind collective theories. In my opinion, for the sake of honesty, no new ism should be created’, Today tis time (at any rate 60 it seems to me) to gain distance from the theses of the "new" and “elomen: tary" typography of the twenties and the “functional” typography of the early forties. Let us recapitulate these theses once again. Max Bill writes in 1848:""We call elementary typography a typography entirely developed out of its own data; that is to say, which works In an elementary way with basic typographical elements, and if, at the same time, it aims at the sentence-picture in such a way thatit becomes a living sentence-organism without any decorative addition and without any strain, we would call it functional or organic typography. Which, is to say that all demands - technical, economic, functional and aesthetic- should be fulfilled and should determine together the sentence-picturet.”” Itis precisely in typography that tha difficulty of sat ting theoretical boundaries is plain’, For example dis- cussing Bill's functional claim, Jan Tschichold, the editor of "Elementary Typography" said even in 1928: ‘The New Typography is differont from the ear- lier because itis the first to attempt the derivation of the appearance from the function of the text®." And Moholy Nagy even five years earlier: "This first of all: an unambiguous clarity in all typographical works. Legibility and communication should never suffer from a praviously held aesthetic.” Those were the theses which causedthe typographical revolution and let loose discussion forty, twenty and oven tem years ago, Today it can be said that they are no longet controversial; they are accepted ~ and thus they have lost their object, their currency. This is what is up to date in the situation of the now typography of 4959, After all a dream has been fulfilled, but the en- visaged paradise has remained as far away as ever. In the twenties for instance it was claimed for the first time that the typographer should proceed from the data of his material, from the basic typographical ‘eloments; today it is hardly conceivable thal he should not proceed from therm, Hf most of the pionoors' thesos have become self ‘avident, the aesthetic criteria have been generally outlived, For example: Is sans serif or Roman type the type of the twontioth century (Techichold 1928:mar 1g typas the sans serif. is the forms spiritually to our time”)? te symmetrical or asyenmetrical typography the Ged" Is symntomporary way of expression ? do flush [eft ‘aoged right or lush ffi, lush right correspond f° present-day feelings? can a type be sat vertically or not? and so on. “Among all axistins only one which con! ‘Such “either or” criteria have served their time and their purpose. Today typographers use both sans serif and Roman type, set books both symmetrically and asymmotrically, use both flush left, raged right fand flush left, flush right. Today everything is stylist cally allowable, allowable from the point of view of up-to-dateness. "There remain only open doors to be unlocked”, as the German saying has it. And we shall not be spared the necessity of rendering an account of the state of our spiritual inheritance, Nobody will reliove us of the task of searching for new crit Typography is an art not in spite of its servin, pose but for that very reason. The designer's tara fies not at the margin of a task but atits very congo” ‘Only thon is the typographer free to perform as an rtist hen he understands and ponders his task allits parts. And every solution he finds on thie be ‘hill be an integral one, will achieve a unity betwen, Janguage and type, between content and form, Integral means: shaped into a whole. There the Ar totelian dictum that the whole Is greater than the seq of Its parts is assumed. And this vitally concerns typography. Typography is the art of making a whole out of predetermined parts. The typographer "sets" He sets individual letters into words, words into sentences. Letters are the elementary particles of the writton language - and thus of typography. They are figura. tive signs for sounds without content, parts which acquire 2 meaning anda value only if they are com- bined, This means that combinations of two, three and more letters show in any case a word-picture, but definite letters render a definite idea only ina certain sequence; literally they constitute a word. To clarify the example from the other angle let us take four letters which can be combined in four diferent ways. From this we can see that only one combination makes Sense, The 23 remaining are indeed both legible and pronounceabla, thoy contain tho samo elements and giva the same total. But they do not constitute 2 tingustis wnole, They remain meaning less. EFIW FEIW IEFW WEFI EFWI FEW! IEWF WEIF IFEW WFEI IFWE WFIE IWeFWIEF IWFE WIFEThe importance of the whole, the integral in general nguage and typography, is obvious, If the pro- pattion between the correct and the possibie combi- nations in words of four letters is 1 24, in five-letter words It will be 12 120, in six-letter words 1: 720, in sevon-letter words 1: 5040 and so on. This means that what wo ean write and set with our letters in all languages ~ if it makes sense, it makes a whole ~ always remains a mere fraction of the mathematical possibilities of the alphabet, Morgenstern, the Dadaists, Schwitters and others have tried the abstract language which stands for nothing outside itself, consisting of unconventional combinations of sounds and letters, of words which are not words because they have no meaning but their own acoustic ard visual rhythm’, The poets explode what has became natural and meaningless for us in the language. And in so doing they give us back a feeling for the natural and elementary, Kurt Schwitters’ "Sonata in Primeval Sounds” is especially lluminating with respect to the accord between le- mentary, linguistic and typographical form. The author says: “The Sonata consists of four move- ‘ments, an introduction, a coda and a cadenza in the fourth movement. The first movement is a rondo with four main elements which are especially marked in this text of the Sonata. Itis rhythm in strong and ~veak, !oud and soft, compressed and extended and Paget of the "Sonata in Primeval Sounds” published n Hannover in 1982, (Typography by Jan Tschichold): ‘n our contemporary reality abstract word-creations which soom at first sight the eccentric ideas of a poet, have developed into an everyday economic factor. Every day now words are created. Perhaps they grow out of abreviations like UNO, aro pieced together trom orsign words like Guomaltine, or are new inventions like Persit; in each case they are independent of their saurce. And now names for industrial products aro found by means of slectronic computers. This happens as follows: some three random vowels and four consonants are fed into the computer which registers in a few moments thousands of combina- tions (see above), replacing imagination by mecha- nical choice. These meaningless word-creations have become indispensable to publicity. The label departments of every firm of importance have dozens of them in stock; belore the products exist the name is already registored and protected by law. Elementary optics correspond to elementary speech sounds, the formal value of the type corresponds to the acoustic value of language. What Schwitters says about his “Sonata in Primeval Sounds”, applies, if correspondingly modified, to the next example, an advertisement for the Delft Cable Works designed by Piet Zwart around 1926, Itis a chythm in black and white, large and small, compressed and extended. nmoomennnnesionsien, bt ce fms jane (nena Tine te Ue nt en? eco co a tn Ss emt la 5 ee eee Z- itters example is a compositi y the illus- If the Schwit : on et our type-combination: Mallarmé’s is 078 of pure mor constellations’ .w of integral typography From the point of view of ie Fron otout is an ftaresting example of an inf Tehoxperiment with fundamentals, though 28 75 iihnor aémits, an imperfect typographical achio. “Coup de 46s", publishes itis sufficient to allow two, three or more words in, Cosmepots” achieve thoir full effect. They saom on the surtace 1s): Mis (Mallarmé's) whole without Intratation and sprinted at fandom bye nalyses performed for years careless hand, more closely, they he. cer Carefully (oven on posters and in newspapers) words he creates "*hought- objects and leaves the the effect reaulting irom the distribution of Black and task of association othe reader, who becomes a white and had compared the (atensity of various: collaborator and, in a sense, atten the complete of types... He creates a surface reading which be the poem." Further: "Silence distinguishes the nen Paul Valéry writes on thi Gomringer calls himself the "play-leader, the one who should not be considered as created in two distinct invites othors to play with him”. The words he puts, perations, the one consisting in writing a poem in down are not words applied to some subject, buta tho traditional way, independently of each visual form reality, conceptual and rhythmical values in them= ‘and the size of the spacing, the other in giving the _selves. They aro again and again points in relation- fextity appropriate getting, Mallarmé’s attempt must ship to one another in a vacuum in which tho reader's necessarily have been more profound. It happens in imagination wanders, rapidly or leisurely, according the very moment of creation, itis itself a sort of cre- to his mood. And the less numerous the points ot ation.” reference, the more precise they are ~ which means, in application to typography, the more fixed the unity Mallarmé himself writes ina letter to André Gi of word and word-picture, the more natural itis. “The poem has just been printed with my sentence- Lissitzky, addressing the roader, says as early as arrangement, in which the whole effect ies." It would 1925: “You shoud demand that the writer take pains not be possibie to underline more clearly the relation- over the presentation, because his ideas comets you sip existing between tha contents and the setting of through the eye anc not firough the ear. Therafore thetoxt. ‘ypographica! sculpture, tnrough its visual quality, should do what tho sneakers voice does for his, thoughts". aan fs ne _ ” | etait | baum | Te namdns | baum kind eee | j | 2. | king | ete ie teal kind hund Se Sw RAT, | | pieetsommiar hh err hund | ce dernit hund haus | Stee aa haus | haus baum baum kind hund haus | LE HASARD | Wee |Goniringar a’s0 tolls us that the poet's distance from The above examples do not follow any plan and are the socalled reality of everyday ife is at best only —_ certainly not intended to be an antholagy of pioneer Soparent. Ifhis constellations are artistically concen- work. | should prafor to look at the theme of integral tated concentrates, they are often very close to slo- _typography- of the integration of language and type ~ fans centred on a definite subject, such as: "Cyclists from as many angles as possible. And there { cannot fttention-attention cyclists". Or "Face oncoming ut mention questions we take for granted. | hope traffic’, Or like the classic among slogans: "Dubo- the reader will not consider this too much of a liberty. Dubon-Dubonnet”. As publicity for a torch battery the Parisian writer Arman Salacrou conceived: la pile We take for granted for instance that on the poster wonder ne s‘use que sil'on s’en sert (la pile wonder- one doos not read: “Allianz is organizing an exhibi the name of the battery - is used up only when in use.) tion in the Zurich Museum , ., and 80 on". The aston~ ishing thing is: nothing is said of an exhibition! The The newspapers’ headlines often become constella~ _ text is reduced to the barest essentials, to names and tions of a particular force", They shape and reduce _ dates scaled according ta their significance ~ the rest tothe briefest and most girect not only a poetic idea is filled in by the onlooker. Or, in Gomringer's words: but daily events, ‘The onlooker completes the poster". Tho informa- tion, though employing only type as its medium, is For Instance how much is said and at the same time not as much read as “seen”. left unsaid in their contemporary context by the four words: Megto wad courtfotog: Princess marries photo- Here, using elementary means, the poster fulfils its grapher. A subject to excite the imagination of the function in an exemplary way, it conveys its message reading millions. Sensation beyond the scope of nor- to the reader in the simplest possitis manner, it mal print, Evoryday spodch is too olaborate for the literally puts him in the picture at the first glance ~ itoadline, to0 space-consuming. A special solution, the information's content and form correspond to one then, Abbroviate (fotog); draw upon the thesaurus another. (wed instead of marries); substitute nicknames (Meg for Margaret). We are interested by the fact that the Poster by Max Bill, Zurich 1942: effect here not only lies in the words, the content of their factual communication, Without any doubt the same words, if they, for ¢xample, stood somewhere in the middle pages, would have a completely differ- ‘effect, Again content and presentation of the lan- guage result, cumulatively, in an entirely new unity. “| DAILY. NEWS ' iri | DALLYALNEWS [5 kunsthaus ziirich MEG TO WED COURT FOTOS f eT i! igang } I= | Another phase of intosral typogr tie following examples. The « | what is not shown on the illus part of one folder for the Now York | in 1958 by Louls Silverstein, | running Lbs ser | action! wv 40 | | =| | “This is no _ “Our time for advertising eet SUESS- ,, aducet BOOT! “We've got to get_out oe Haye you be tren henting these DugEnig little voices ately? B = SEN Tittle voices Jately? He as ja e's what to do about UE ee :re eee Tae actus with the figure 8 With the elements so far accepted a new one is into- on the front. Ho unfold 9, and with each following grated. The reading-time becomes imperians its unfolding, 7 and 11 the siz@ becomes twice as big, rhythmis intensified, and itis incorporated inte the Bae et ere steer ane {yPe heavior. After the typographical structuro, Ono ean say thal text ard aramatic climax sell sell salll’,- there comes in typography develop simultansousiy. as tho pager is ___genclusion ths propaganca massage =""Putthe New unfolded. (What is trus hare or unfolding a chest of York Times Magazine on Your magazine schedules ... paper can as well be said of turning the pages of a use it consistently all year long”, book.) 2 | pu The ~ New York Times.—————— ‘es folder shows the solution of a Fe plex problem: « displays the intogration ofan fon a textand typographical presentatloe through eee al phases. | would be 2 further task 19 integrate seer of folder with other advertising a8 of Mates motter. Today more than aver, firms neod not Png folder here, a poster or an advertisement there orl ty something alse is needed: a physiognomy, & pute face. The New York TI 13 i Ss Tho examples on tieee pages show the p 18% 9n0¢y of "Bote & musique, a record shop ing musique” has & signature and asiyleere’ Band a style on ee Bil but ro in tho sons ofan unchangestien own ire asthe aici, thor da the eek ora finitely established though adapted in ae the functions and proportions, constitute wo ture and style in one, Ute the eng. Fig. 18 shows the structure, Tho lets are fixed elements; soare the connectio them and the principle of variably. Steruee nee hottom sight corner, the hramie kan baie ee me ward of tothe left by whole units ata time The” foceatwiche eames re pepc nore-ara Only varlanta of equat Value: aoa Ig pre-eminent when il bast adapted to ne sca” {uae orobtom swalhieheUlGNon ee ee oon 19 and frame Fig, 14 shows the New Year's cacd wi botnet proportions ston wee met 15 tho notepaper, in which tho insignia isa ted to tho (given) DIN A 4 format; 16 and 17 agver Msoments tallored tot tha advertsing pace ve able; 18 a gift voucher. ae3 E We. la © @ boite a musique musique | _musiquesoite musique two other cases Mog be saeucod a p03 Meany ofthe nel to ato be shows fe the ab Wal ee crite genoral applicability frstol are egrious aids and secondly under variout basic conditions, As an addition te are quoted which may s Inthe case of Bech Electronic Contes tho prop diferent only in that ne amore epreten basic conditions It answers the question i ech, the propriotor) What? Electronics 0? How? (Centro, the type of offer) A denn rather than a name; and under the gisad comprising 8 great deal of ter the atc ption, thes, Wantaga of I must add that the name does not have ti many think in order to oblige graphic arity ye opposite: he design is simply and aoly aye? discerning two characteristics of the name (nee conditions) which lend themsaives to the systen, 'S form, as Firstly: the initial letters coincide in the manner of crossword puzzle when thewords rewritten oyster 80 as to read two ways. in other words: the name appears twice without actually being repeated, Whet appeared a handicap at first, (s artificially intensities Secondly: the expanded form (horizontal andverca) contains from the outset variants and combinations Thus the sign, consisting solely ofletters (andwithout addhional aids like the frame in the case of Boite& musique) van bo adapted (within limits) to various proportional requirements. Moreover: through the combinatory variants, it suagesis, although not ae- tually interpreting, electranic technique. Fig, 19 and 20 show tory Card; 19s the mos! fiable form, 20 sho: the firm's notep: coupon. low Year's and also Introdue- condensed yet stil ident- o ful range of variability; 21 ith separable a repair slip 19 20 de Hee BECH BECH BECH ELEC ELECTRONIC ELECTRONIC CENT CENTRE N maat — BECHT 12 ELECTRONIC CENTRE | x le BEC ELE CEN CT TR RE ° N 1 c ELECTRONIC CENTRE =x o wh. m a=Z0n-10Fu Cir te el Jhb mOoz—O | Mur aSYLNAD SINOYLDATa H934aa musique and Bech the basic coo" fhe way they affect the prob in both cases the firm had and given a physiognomy with both Bol ing are the samo in Jem: both are retail shops, to be characterizad as suc! for the outside world structurshad anadditional haracterize the products words, a trademark had ord. In the case of Holzapfel the task to perform: it had to cl fas well as the firm. In othe! fo be designed in the widest sense of tho w vitel question: ean a mark be variable with, game time forteiting its mart-like cratacter? gene Sa er auntie ypeal abo idk teen or the "co! ation”? My answer isknones pot Gnd cannot be a question merely of propartinge* are uch. Proportions can never be anything ou {or bas) relative to the task, But-in tho ste, shy sign, however great the numberof variante 1s one which must be deciai ants, there of the variability; Fig. 28. Ter as a result Fig.29 shows the “printed frame". Thi Fi, 20 erent all examples’ allconsistet rere ne ie caemponents of the case. There isan economig” are ctce a disciplinaty reason for this. Economie” speause sthernise originals would nave te be Gtevory variant of he structure and blocks wouldnarg to nace of every sive. Disciplinary becauce the yn ranhical units simplify decisions as to proportion fisRiine outset Fig. 801s a portion ofthe syetem tracers of lao la the sarfe ly alls ederw: be Sioa proportion and boldness are changed. Fit oi gee formeae ediapateh label,1 i Cy cc tt on MG GG A Ld La | La niedriger Schrank i eaeee Ts Holzapfelpuvmny Bunajueabeuny | Jj | es |12.69 Summarized al typography strives for the marriage of pe resulting in a new unity, in @ Superior whole. Text and typography are not So much two consecutive processes on different [evels as interpenetrating elements 4 Integr language and ty! 2. Unity is reached in different phases, each succes- sor including its predecessor: in the integration of different signs, different letters into the word, Examples 1 to4 in the integration of different words into the sen= tenco, Examples 5 to 8 — in the Integration of different sentences into the “reading-time" dimension. Examples 9 to 12 in the integration of independent problems and functions. Examples 13 to 39. At the beginning | was rash enough to “searching for new criteria”. Has this a ductive of such? Some of the examples Speak of Cited are and have already become historic documents. 1 problems have already arisen and been have been solved in such @ way that the results oo) solved. T) Ricle been g, oie 3 ne remained fresh, living exemplars. Figure, tie of Max Bill, for example: If Allianz had to organtent exhibition again, today, twenty years later, the. bose, might be different but it could scarcely be more pay nent, better, more up to date. As already said: In essentials these pri “elementary” and “functional” inciples of ste typography are sti valid and are observed to a vary great extent, Ang new ones cannot be added where the s single problems is concered. olution of However, today there aro some changes: the produc, tion of printed matter has assumed unforeseen pro- portions. We are not only threatenod by the danger of extravagance and superficiality where the individust creation, however excellent it may be, becomes last, but also by the menace that the knowledge and ex. perience of the pioneers, what has already been done generally recognized, will degensrat ato mere formalism, become fashionable. The fulfilment ofa dream threatens to become a nightmare, Here we are not allowed to resign. Here the designer must inter vene, he must in a sense aim at a largor whole; he must not continue (o carry out the single task so much as create struct can be derived, 25 from which single solutions This adds to the work of design a new dimension of planning, from the anglo o both language and type. The structure, once planned, always contains the elements of toxt and typography, always compre honds the whole and makes tha single task pessible (Considar “Boita juua!": each task is always typical of the whelo, sears the firm's imaga, ands! the same time oa {8 created in viow of its spocia! Use, from the label to the poster), Thus work bacon more complex, and presupposes an intensitiod ¢O- operation among ali perticipants. But here desian a quires meaning again. Tho graatar effort and 1019” time dedicated to the devoloament of the struct pays off in the end bocavse it makos the detail wo 30 much easier, Ang finally the new oxperience brings forth new impulsos tor the work fasks. In short: From tho viowpaint of the ture, the integral dosign itso gains a new s196! ‘few up- to-dateness, a new significance Of short-lived production and correspond of printed matter, What | have tried to show on thoso pase new typographical style. Because the graphy" was not an arbitrary fashion Now served its purpaso, It was tho soe of our most important means of con type face, in @ period of swaoping cha” ean and must do today is noi chanoe ! Principles but extond them te new tsk slemmentacy, from tho functional to the s Integral: this tg tio raw material or Me" unica nges: Wh) tye intent tu on single on this Now TP hich ta oping whe whet From th th tar now ct Js cannet® wwiato st id ast gs eeNotes on the Essay “Intogral Typography" (On the isms from 1914-1924 a book by Hans Arp and, El Lissiteky appeared: “die Kunst-Ismen", Eugen Rentech, Erlenbach 1995, From an essay, “siber typographie”, in “Schweizer Graphische Mitteilungen”, May 1946. In other fields than typography the boundaries are more sharply drawn. Georg Schmidt, the apologist of tunctionalism, writes: “Dutch constructivism acted ike a catalyst on architecture and on decorative arts and reduced house, furniture and utensil construc- tion to the most elomentary surface, body, space, and material tensions. The result was a much more direct, relationship to material and construction in the field of house, furniture, and utensil construction, a com plete renouncement of ornament and the discovery of the beauty of ‘unornamented form'", But: “Very soon one had to recognize that one had only slipped into a new formalism, Houses and furniture like this tried to be interesting constructivistic sculptures and cared very little for actual use." "Like every historical error this one was very salutary too. From it arose the further knowledge that house, furniture and utensils aro not only conditioned by material and construction like @ constructivist picture or a constructivist sculpture but even before this by the function." From an essay "Von der Beziehung zwischen Architektur und Malerei um 1920", in the magazine “Werk”, July 1946. lementare Typographio” was the title of a special issue of the magazine “Typographische Mitteilungen” odited by Jan Tschichold in Berlin, October 1920, From “Die neue Typographie" by Jan Tschichold, Borlin 1928, Verlag des Bildungsverbandes der Deutschen Buchdruckor, From an ossay “Die neue Typographia" from the book “Staatliches Bauhaus in Weimar 1919-1923", Bauhausveriag, Weimar-Munchon 1923, Dio Galgonlieder' by Christian Morgenstern was frst published in 1905 by Inselverlag. To the "Dada" creations in question belong above all Hugo Ball's “Lautgodichto”, Hillsenbeck’s Simuttangadichto", Raoul Hausmann’s phonetlc poem “imsba" which inspirod Schwitters, following tans Bolliger's “Dada-Lexikon™, fo write his "Sonata in Primeval Sounds’, Tho reader can learn more from tho "Dada-Mononraphio published by Willy Verkauf, ArthurNiggli, Teufen 1957 and from the "Anthologie dos Absoitigon" by Carola Gladion-Walcker, Bontell AG, Bon-Bimpiiz 1940, In a more rosttictod sense, 0, rathoras artificial than ehotract pootry, mention should bi mado of therecent exporintantal toxts ot Max Senso. These texts ase pro- duced mechanically on a basis of aesthetic programm ing: "Bestandteile des Voruber” and “Entwuri einer Rheinlandschatt"; both were published by Kiepen- heuer and Witsch in Cologne. In 1962 the same pub. lishers brought out Bense's “Theorie der Texte" ‘An excellent edition of the "Coup de dés” was pub- lished in accordance with the last directions of the poet, who died in 1897, at the “Librairie Gallimard in “Editions de la Nouvelle Revue Francaise”, Paris 1914. Also in 1897, another poet was giving thought to the typographical presentation of his work: Stefan George. At the "Verlag der Blatter far die Kunst” appeared "Das Jahr der Seele", The typographical design was by Melchior Lechner. In 1898 Arno Holz published the first “Phantasusheft”. It contained fifty poems which were free of metrics, strophe, rhyme and were accentuated typoaraphically by the fact that words which belong together rhythmically were always taken together in one line and the lines of most vary- ing length were set on the central axis. A complete edition appearedat J. H.W. Dietz Nachfolger, Berlin 1925. {n the following years the poets Apollinaire and Marinetti applied themselves intensely to typography. “Caligrammes" by Apollinaire was published by Gallimard, Paris 1925. Marinetti's principal workin this respect, “Les mots en liberté futuristo”, appeared at the “Edizione futurista di poosia’, Milan 1919. Besides Schwitters, Kathe Steinitz and Theo van Doesburg ("Die Scheuche”, Apossverlag, Hanover 1925) belong to the typographical post cevolutionists, ‘An equally important work is the poetry volume written by Majakowsky and typographically designed by Lissitzky, "Dlja Gélossa” (to be read aloud), Russian Stato Edition, Moscow 1923. And 80 on. ‘A more recent publication in this field is “Les Epi- phanies" by Henri Pichette whose typography was designed by Pierre Lofauchoux and appeared 1948 at éditour", Paris, And { may also mention in this ancestors’ gallery the novel “Schiff nach Europa” by Markus Kuttor, which | organized visually and which was published by Arthur Niggli, Teufen 1957. From the essay on Stéphane Mallarmé in “Wariété f", Gallimard, Paris 1930. From “Konstellationen”, poetry volume in four lan~ guages, Spiral Press, Borne 1953. From an article in “Neue Zurcher Zeitung”, Septem- ber 1954, on the page “Young Swiss Authors answer’. From an essay ‘‘vam vers zur konstellation, wack und form einer neuen dichtung’, in the magazine “Spirale", No. 5, Spiral Press, Stadion Wankdorf, Borno 1955. "Spirale” publishes in each number authors spiritually related to Gomringer such as Augusto da Campos, Helmut Haisseabiittel, Décio Pignatari and s0 on, Furthermore Danie! Spoor publishos a magazine in Darmstadt which cot among its collaborators tho same authorsas "Spit In 1959 thore appeared in Sao Paulo at Editora Kos.54.65 mos avolume of constellations, "Poemas”, by Theon Spanuuls. The subject of the Integration of TypO- graphy in Literature has beon treated jn numerous recent publications, Mention may be made of: the catalogue of the exhibition, “Schrift und Bild" held sn Amsterdam and Baden Baden, 1963; the "Kenkrete Poesie” series, published by Eugen Gomringer him- self; Gomringer's own “Konstellationen” collection, likewise published in Frauenfeld; Markus Kutter's “nventar mit36", brought out in 1964 by Arthur Nigalit “oddities and curiosities" a delightful collection by C.C. Bombaugh, published in 1961 by Martin Gardner at Dover Publication Inc. New York. From an article “Typographische Tatsachen” in the “Gutenberg-Festschrift", Gutenberg-Gesellschatt, Mainz 1925. In another sense André Breton had already made poetical capital out of this knowledge. With headlines and headiine-tragments cut out of newspapers he mounted a “Poéma” which appeared in *Manifeste du Surréalisme”, Paris 1924, (Published in "Antologia del Surteatismo” by Carlo Bo, Edizione di Uomo, Milan 1946.) “