1.
White space is to be regarded as an active element, not a passive background.
Jan Tschichold
'White space should be considered an essential component, not merely a decorative backdrop.'
2.
The aim of every typographic work - the delivery of a message in the shortest, most efficient manner.
Jan Tschichold
The objective of every typographic creation - the conveyance of a communication in the most concise, productive way.
3.
Perfect typography is certainly the most elusive of all arts. Sculpture in stone alone comes near it in obstinacy.
Jan Tschichold
'Attaining exquisite typesetting is undoubtedly the most arduous of all creative endeavours. Carving in stone alone rivals it in rigidity.'
4.
Asymmetry is the rhythmic expression of funtional design. In addition to being more logical, asymmetry has the advantage that its complete appearance is far more optically effective than symmetry.
Jan Tschichold
Inequity is the melodious articulation of utilitarian blueprint. Aside from being more coherent, inequity has the benefit that its whole look is much more aesthetically pleasing than symmetry.
5.
Perfect typography is more a science than an art.
Jan Tschichold
6.
Readers want what is important to be clearly laid out; they will not read what is too troublesome.
Jan Tschichold
7.
My errors were more fertile than I ever imagined.
Jan Tschichold
8.
Asymmetry is the rhythmic expression of functional design.
Jan Tschichold
9.
The sanserif only seems to be the simpler script. It is a form that was violently reduced for little children. For adults it is more difficult to read than serifed roman type, whose serifs were never meant to be ornamental.
Jan Tschichold
10.
The works of 'abstract' art are subtle creations of order out of simple contrasting elements.
Jan Tschichold
11.
The book designer strives for perfection; yet every perfect thing lives somewhere in the neighborhood of dullness and is frequently mistaken for it by the insensitive.
Jan Tschichold
12.
Standardization, instead of individualization. Cheap books, instead of private press editions. Active literature, instead of passive leather bindings.
Jan Tschichold
13.
We cannot alter the essential shape of a single letter without at the same time destroying the familiar printed face of our language, and thereby rendering it useless.
Jan Tschichold
14.
Type production has gone mad, with its senseless outpouring of new types... only in degenerate times can personality (opposed to the nameless masses) become the aim of human development.
Jan Tschichold
