Geschichte 9 fDie Scfirift i me dUenscR Neue Erdolbohrung GekiioieteScliiiiire Fruhling in der Sch LUGANO GENF LUZ Nachtleben Hamburger Sender SETZMASCHINEN nungen fie ^efcftdffe [oiole 239 i 3] We do not dress in crinolines nowadays, but in a more rational manner. Every period has its own formal and cultural features, expressed in its contemporary habits of life, in its architecture and literature. The same applies to language and writing. We recog nise clearly enough that literary forms of past ages do not belong to the present times. A man would make himself ridiculous who insisted on talking to-day in the manner of the Middle Ages. Later, we shall see that the type designs of tradition do not respond to the essential requirements of type suit able for use to-day. We look back upon a long line of development in type design, and we have no intention of criticizing the heritage which now oppresses us. But we have reached a stage when we must decide to break with the past. When we are confronted with a collec tion of traditional styles we ought to see that we can turn away from the antiquated forms of the Middle Ages with a clear conscience to the possibilities of designing a new character of type more suitable to the present and what we can foresee of the future. In the course of the centuries our language has changed. It has become shorter, sound-changes have taken place, new words have been coined, new concepts have been formed. Language itself needs completely re-organiz ingbut this is a tremendous subject. We will not enter upon it, but limit ourselves to consideration of type-design. Out of the conglomerate mass of historical shapes illustrated above there has emerged, as a last phase, the form of classical Roman type, with variations until we arrive at the simplified form without serifs, popu larly known as "Sans-serif" or "Sans." In England the most familiar type of this order is commonly known as "Gill Sans," after the name of its designer, Eric Gill. Sans-serif type is the child of our period. In form it is in complete harmony with other visible forms and phenomena of modern life. We welcome it as our most modern type. WienerJK Banken Variations in classic Roman type

Industrial Arts en | 1936 | | page 79