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Zusatztext Klevgaard explains the publishing environment in which New Typography took shape in Scandinavia. We come to understand the “domestication” of modernist typography not as a misunderstanding of its more well-known Central European prototypes, but rather as a sensible adaptation to the varying interests of publishers, tradespeople, readers, and organizations there. Well researched and clearly written, this study will open many eyes to typography rarely seen outside of the region. It also demonstrates how the histories of social organizations and of industrial structures, no less than the histories of ideas and of visual forms, are key to understanding the history of modernist design. Informationen zum Autor Trond Klevgaard is a design historian and graphic designer. He is Associate Professor of Design History at Kristiania University College, Norway, where he was previously head of the degree program in Graphic Design. He holds BA (Hons) and MA degrees in graphic design from London College of Communication, UK, and a PhD in History of Design from the Royal College of Art, UK. Klappentext This is the first monograph on Scandinavia's 'New Typography'. It provides a detailed account of the movement's lifespan in the region from the 1920s up until the 1940s, when it was largely incorporated into mainstream practice. The book begins by tracing how the New Typography, from its origins in the central and eastern European avant-garde, arrived in Scandinavia. It considers the movement's transformative impact on printing, detailing the cultural and technological reasons why its ability to act as a modernising force varied between different professional groups. The last two chapters look at how New Typography related to Scandinavian society more widely by looking at its ties to functionalism and social democracy, paving the way for a discussion of the reciprocal relationship between the culture of practitioners and the cultural work performed through their practice. Based on archival research undertaken at a number of Scandinavian institutions, the book brings a wealth of previously unpublished visual material to light and provides a fresh perspective on a movement of central and enduring importance to graphic design history and practice.The first work to focus on the popular topic of 'new typography' specifically in Scandinavia. Zusammenfassung This is the first monograph on Scandinavia's 'New Typography'. It provides a detailed account of the movement’s lifespan in the region from the 1920s up until the 1940s, when it was largely incorporated into mainstream practice.The book begins by tracing how the New Typography, from its origins in the central and eastern European avant-garde, arrived in Scandinavia. It considers the movement’s transformative impact on printing, detailing the cultural and technological reasons why its ability to act as a modernising force varied between different professional groups. The last two chapters look at how New Typography related to Scandinavian society more widely by looking at its ties to functionalism and social democracy, paving the way for a discussion of the reciprocal relationship between the culture of practitioners and the cultural work performed through their practice.Based on archival research undertaken at a number of Scandinavian institutions, the book brings a wealth of previously unpublished visual material to light and provides a fresh perspective on a movement of central and enduring importance to graphic design history and practice. Inhaltsverzeichnis ContentsList of FiguresList of PlatesAcknowledgementsNote on TranslationIntroduction 1. Origins and Networks Origins of the New TypographyScandinavian Nodes in the Avant-Garde Network Section One: Printing and Advertising Cultures 2. Modification: The Printing Trade's Versions of the New Typography The New Typography from Avant-G...
