I MODERN TYPOGRAPHY IN ADVERTISING DIE MODERNE TYPOGRAPHIE IN DER WERRUNG LA TYPO GRAPH IE MODERNE DANS LA PURLICITÉ j ••Alice in Wonderland, The Panic Hans Schmoller [Deutscher Text: Seite 299] [Texte francais: page 300] Typography is the dogmatist's paradise. Much has been said about the new school in typography of late that is already a source of amusement to those who can detach them selves a little from fashions and trends and that will certainly make totally absurd reading a generation hence. The fervour with which such questions as symmetry versus asymmetry or the abolition of capitals are discussed, proves the danger of al lowing an essentially humble minor art to be saddled with the self-conscious and not always modest utterances of theorists who have no practical outlets, and of practitioners who feel the need for a theoretical foundation which justifies their ap proach to their work. Most jobbing printing is of an ephemeral character. At best it can hope not to be thrown away unread. Both salesman and aesthete will therefore agree that it is rightly the place for experiment. As nowhere else in printing, novelty is constantly demanded, and so the past twenty years have seen notable developments. For a long time, the Neue Typographic flourished only in Germany, but now it has become a trendfor it cannot yet truly be called a stylewhich is international. Unfortu- 1) ROBERT HARLING 2) ROBERT HARLING 3) ALAN DODSON 4) KURTWIRTH 5) MAX HUBER 6) DONALD GARDNER 7) WALTER GLEINIG AET ASD TECH5ICS ATJTUMK 1950 CREKNHJLL 11OOL OF SPEECH AMD I) K IV R 1) N K S n A Y 23 MAY 1 9 5 I IJi a (j ra m mr Proceeds t'j the Funds of the South African Guild of Speech Teachers 29O

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