A typographic manual and manifesto, Jan Tschichold's 1928 The New Typography heralded a "see" change in how the printed page was laid out. Thereafter, Central Europe's stylistic rule was out with the floral, typecast symmetry and in with punchy, sanserif free form — as Tschichold put it, "Asymmetry is the rhythmic expression of functional design." This modernist installation features Soviet Russian, German, Dutch, and Czechoslovakian type-and-photo designs for posters, magazines, and brochures, among other printed matter.
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