JAN TSCHICHOLD
Tschichold is the best known publicist and practitioner of the 'new typography' that developed in Europe between the wars. Born in Leipzig to a sign-writer father, his first interest was in antiquarian lettering. In 1923, after his first exposure to the Bauhaus, Tschichold changed his style completely. At the Bauhaus, classical form was to be abandoned and the structure and function of everything was to be rethought. Tschichold was hooked. For a while, he even Russianised his name to Ivan to identify himself more closely with the Left. He began to promote aggressively the new typography in printing trade journals and a series of practical manuals. His typography was made up of asymmetry and bold sans serif typefaces. He was condemned by the Nazis for creating un-German typography and accused of 'Kulturbolschevismus', and was arrested and interned for a while (talk about taking a risk!). He took refuge in Switzerland in 1935. While in Switzerland he published 'Asymmetric Typography' where he uncompromisingly advocated the new typography. True to character, he performed a volte face in the 1940s and came to the conclusion that the 'new typography' was inherently Fascist. His later typefaces were in a new classical style. He designed only one widely used typeface Sabon. In England, he is best known for his redesign of Penguin books in 1946.
ARMIN HOFMANN
By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography.He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph Müller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. HisGraphic Design Manual was, and still is, a reference book for all graphic designers.
SAUL BASS
Saul Bass was born in New York City in 1920. He is known as one of the best ever graphic designers for film. As he has created the credits and title sequences of over 60 films he has often worked with directors Martin Scorsese, and especially Alfred Hitchcock on his very famous film Psycho, of which he designed the titles! His design skills have intrigued audience and through the work of design placement, movement, and tone this allows the audience to step into the film itself. All over as film critics have been known to say that “you could tell what was going to happen in a film for which Saul designed the titles.” He has had a long lasting and successful career, helping out with visual concepts, storyboards but most importantly the titles for the bigger cinematic hits of the 20th century. Saul died in 1996.
Tschichold is the best known publicist and practitioner of the 'new typography' that developed in Europe between the wars. Born in Leipzig to a sign-writer father, his first interest was in antiquarian lettering. In 1923, after his first exposure to the Bauhaus, Tschichold changed his style completely. At the Bauhaus, classical form was to be abandoned and the structure and function of everything was to be rethought. Tschichold was hooked. For a while, he even Russianised his name to Ivan to identify himself more closely with the Left. He began to promote aggressively the new typography in printing trade journals and a series of practical manuals.ARMIN HOFMANN
By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design. His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style, which stressed a belief in an absolute and universal style of graphic design. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photo-montage and experimental composition and heavily favored sans-serif typography.He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph Müller-Brockmann did, Hofmann wrote a book outlining his philosophies and practices. HisGraphic Design Manual was, and still is, a reference book for all graphic designers.
Saul Bass was born in New York City in 1920. He is known as one of the best ever graphic designers for film. As he has created the credits and title sequences of over 60 films he has often worked with directors Martin Scorsese, and especially Alfred Hitchcock on his very famous film Psycho, of which he designed the titles! His design skills have intrigued audience and through the work of design placement, movement, and tone this allows the audience to step into the film itself. All over as film critics have been known to say that “you could tell what was going to happen in a film for which Saul designed the titles.” He has had a long lasting and successful career, helping out with visual concepts, storyboards but most importantly the titles for the bigger cinematic hits of the 20th century. Saul died in 1996. 
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