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Jan Tschichold (Johannes Tzschichhold) was born on 2 April, 1902 in Leipzig, Kingdom of Prussia, German Empire, is a German graphic designer (1902–1974). Discover Jan Tschichold's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 72 years old?

Popular As Johannes Tzschichhold
Occupation Calligrapher, typographer, book designer
Age 72 years old
Zodiac Sign Aries
Born 2 April, 1902
Birthday 2 April
Birthplace Leipzig, Kingdom of Prussia, German Empire
Date of death 11 August, 1974
Died Place Locarno, Switzerland
Nationality Germany

We recommend you to check the complete list of Famous People born on 2 April. He is a member of famous designer with the age 72 years old group.

Jan Tschichold Height, Weight & Measurements

At 72 years old, Jan Tschichold height not available right now. We will update Jan Tschichold's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Jan Tschichold Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Jan Tschichold worth at the age of 72 years old? Jan Tschichold’s income source is mostly from being a successful designer. He is from Germany. We have estimated Jan Tschichold's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income designer

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Timeline

1902

Jan Tschichold (born Johannes Tzschichhold, also known as Iwan Tschichold, or Ivan Tschichold; 2 April 1902 – 11 August 1974) was a German calligrapher, typographer and book designer.

He played a significant role in the development of graphic design in the 20th century – first, by developing and promoting principles of typographic modernism, and subsequently idealizing conservative typographic structures.

His direction of the visual identity of Penguin Books in the decade following World War II served as a model for the burgeoning design practice of planning corporate identity programs.

He also designed the typeface Sabon.

Tschichold was the son of a provincial signwriter, and he was trained in calligraphy.

1919

In 1919, he began in the class of Hermann Delitzsch a study on the Leipziger Akademie der Künste (Leipzig Academy of the Arts).

Due to his extraordinary achievements, he soon became a master pupil of the rector of Walter Tiemann, a type designer with the Gebr.-Klingspor foundry, and was given the task of teaching his fellow students.

1923

At the same time, he received the first orders as part of the Leipzig Trade Fair and in 1923 set up his own business as a typographic consultant to a print shop.

This artisan background and calligraphic training set him apart from almost all other noted typographers of the time, since they had inevitably trained in architecture or the fine arts.

It also may help explain why he never worked with handmade papers and custom typefaces as many typographers did, preferring instead to use stock faces on a careful choice from commercial paper stocks.

Although, up to this moment, he had only worked with historical and traditional typography, he radically changed his approach after his first visit to the Bauhaus exhibition at Weimar.

After being introduced to important artists such as László Moholy-Nagy, El Lissitzky, Kurt Schwitters and others who were carrying out radical experiments to break the rigid schemes of conventional typography.

He became sympathetic to this attempt to find new ways of expression and to reach a much more experimental way of working, but at the same time, felt it was important to find a simple and practical approach.

Tschichold had converted to Modernist design principles in 1923 after visiting the first Weimar Bauhaus exhibition.

1925

He became one of the most important representatives of the "new typography" and in a special issue of Typographischen Mitteilungen (typographic communications) in 1925 with the title of "Elementare Typografie" (elementary typography), he summarized the new approaches in the form of theses.

After the election of Hitler in Germany, all designers had to register with the Ministry of Culture, and all teaching posts were threatened for anyone who was sympathetic to communism.

Soon after Tschichold had taken up a teaching post in Munich at the behest of Paul Renner, they were both denounced as "cultural Bolshevists".

He became a leading advocate of Modernist design: first with an influential 1925 magazine supplement mentioned above); then a 1927 personal exhibition; then with his most noted work Die neue Typographie. This book was a manifesto of modern design, in which he condemned all typefaces but sans-serif (called Grotesk in Germany). He also favoured non-centered design (e.g., on title pages), and codified many other Modernist design rules. The idea of the New was the basis for the transformation of the entire system of printed graphics and graphic design. He advocated the use of standardised paper sizes for all printed matter, and made some of the first clear explanations of the effective use of different sizes and weights of type in order to quickly and easily convey information. This book was followed with a series of practical manuals on the principles of Modernist typography, which had a wide influence among ordinary workers and printers in Germany.

1926

Between 1926 and 1929, he designed a “universal alphabet” to clean up the few multigraphs and non-phonetic spellings in the German language.

For example, he devised brand new characters to replace the multigraphs ch and sch.

His intentions were to change the spelling by systematically replacing eu with oi, w with v, and z with ts.

Long vowels were indicated by a macron below them, though the umlaut was still above.

The alphabet was presented in one typeface, which was sans-serif and without capital letters.

Typefaces Tschichold designed include:

1932

Although Die neue Typographie remains a classic, Tschichold slowly abandoned his rigid beliefs from around 1932 onwards (e.g. his Saskia typeface of 1932, and his acceptance of classical Roman typefaces for body-type) as he moved back towards Classicism in print design.

He later condemned Die neue Typographie as too extreme.

He also went so far as to condemn Modernist design in general as being authoritarian and inherently fascistic.

1933

Ten days after the Nazis surged to power in March 1933, Tschichold and his wife were arrested.

During the arrest, Soviet posters were found in his flat, casting him under suspicion of collaboration with communists.

All copies of Tschichold's books were seized by the Gestapo "for the protection of the German people".

After six weeks a policeman somehow found him tickets for Switzerland, and he and his family managed to escape Nazi Germany in August 1933.

1937

Apart from two longer stays in England in 1937 (at the invitation of the Penrose Annual), and 1947–1949 (at the invitation of Ruari McLean, the British typographer, with whom he worked on the design of Penguin Books), Tschichold lived in Switzerland for the rest of his life.

1945

Yet, despite his visits to England just before the war, only about four articles by Tschichold had been translated into English by 1945.

1947

Between 1947 and 1949 Tschichold lived in England, where he oversaw the redesign of 500 paperbacks published by Penguin Books, leaving them with a standardized set of typographic rules, the Penguin Composition Rules.

Although he gave Penguin's books (particularly the Pelican range) a unified look and enforced many of the typographic practices that are taken for granted today, he allowed the nature of each work to dictate its look, with varied covers and title pages.

In working for a firm that made inexpensive mass-market paperbacks, he was following a line of work — in cheap popular culture forms (e.g. film posters) — that he had always pursued during his career.

He was succeeded at Penguin by Hans Schmoller.

His abandonment of Modernist principles meant that, even though he was living in Switzerland after the war, he was not at the centre of the post-war Swiss International Typographic Style.

Unimpressed by the use of realist or neo-grotesque typefaces, which he saw as a revival of poorly designed models, his survey of typefaces in advertising deliberately made no mention of such designs, save for a reference to 'survivals from the nineteenth-century which have recently enjoyed a short-lived popularity.'

1974

He died in the hospital at Locarno in 1974.