Die neue Typografie.

By the mid-1920s a new design ethos was sweeping much of the Western world. No longer would backwards-looking pseudo-Greek-temple columns or ornate decoration do for buildings, typography, or other areas of design; nor would the short-lived art nouveau be deemed appropriate for the lean, modern, electrified machine age. A modern look which embraced the machine and unpretentiousness of contemporary life was called for. No institution became more closely associated with this modernist movement than the Bauhaus.

Tschichold was never part of the Bauhaus, yet his manual of new typography became the manifesto for radically modern graphic design.