Journal for Typographic Composition, Design, Communication, Printing and Production.
Published by the Printing and Paper Union Switzerland for the advancement of education in the profession.
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Typotron Volume 1-11, 1983-1993
A report on the first eleven volumes, with commentaries by a librarian from Sweden and four typographers from England, France and Austria.
English translation by Andrew Bluhm.
A few days before Christmas I982 Rolf Stehle, the owner of Typotron AG and Stehle Druck AG, told me he would like to present a booklet to each of his customers every year in future. Would I take the matter in hand, look for suitable themes and look after the editing, design and production of the volumes? No other conditions were mentioned, except the Wish that the publications should be concerned with matters relating to the City of St.Gall.
The prospect was tempting, and has remained so all these years. The attraction consisted in the fact that here the book designer was engaged and challenged not only as the designer of the typographic dress for a book but could also determine its content. In five cases he has also Written the text: an ideal instance of form and content going hand in hand. the content has varied from year to year and the graphic and typographic form with it, all Typotron volumes have three features in common: the page size, the paper and the ‘schoolbook’ style of sewn binding. Not being Well—disposed to any kind of uniform, I believe that I have thereby given the volumes enough in common to make them recognizable as a ‘set’. For me, in life as With books (and in this case booklets), the individual is to be preferred to the collective.
The contents have been variable and have no relation to one another, unless as a reflection of the interests of the series editor. Since he felt free, he even went so far as to bring out two volumes whose themes cannot be related to St.Ga]l by any stretch of the imagination. These are the Signs of the type designer Adrian Frutiger, then still living in Paris, and the volume entitled Rightness and Lightness by Franz Zeier, the bookbinder of Winterthur — the volume which was the most quickly sold out by booksellers and certainly found the greatest appreciation abroad: in Germany, in England and in the United States.
This raises the subject of intention and effect. Rolf Stehle’s intention was clear: at Christmas each year his customers Were to receive a select, well typeset, carefully printed and attractively presented publication, bringing the recipient something of more than ephemeral worth. In short, advertising — and if I say a distinguished form of advertising I cannot be accused of self-praise, since Rolf Stehle is the father of the idea. If I remember rightly, this intention was never put into so many words: it was simply obvious Admittedly, as the person responsible, I had other plans.
On the one hand I wanted to address themes Which seemed to me worthy of publication but of which I could assume that they would not otherwise see the light of day in book form for a wider public.
On the other hand, as a book designer, I wanted to show that Sullivan’s dictum ‘Form follows function’ remains valid, so long as one does not confuse the word ‘function’ With a superficial and sterile functionalism. In other words, the form had to suit the theme in hand, and since the themes were different, the publications have also taken on different appearances.
In some cases, of course, I wanted to achieve both of these aims at the same time.
As soon as Rolf Stehle had told me of his idea, there was no doubt in my mind that the first in the series should be dedicated to my honored friend, the typographer Rudolf Hostettler. The editor—in—chief of the Swiss magazine Typografische Monatsblåtter was not to be forgotten. Somewhere — such was my intention the memory should remain green of the personality who did so much for Swiss typography and smoothed the path for so many young typographers.
There was the same intention with the volume on Baus. The publication resulted not only from decades of friendship but also from going through the entire contents of his studio after his death Soon after the appearance of the Typotron volume this inheritance came into the possession of the cantonal library (Vadiana), where it was carefully opened up for a diploma study for a librarianship examination and has now been made available for use by those interested. Thus the Typotron volume has contributed to the fact that the work of a St.Ga1l graphic designer, typical of its time and in many ways exemplary, has not only been saved from oblivion but also kept in an orderly and catalogued state.
Another volume about the life’s work of a strong and original personality (in this case a real character!) is dedicated to the joiner and furniture designer Christian Leuthold. We were able to hand him a copy almost exactly two months before his unexpected death at the beginning of 1992.
The fifth volume of the Typotron series, written by my brother and given the playful title of Günterli and Aaterdo, is a contribution to the social history of eastern Switzerland. It consists of the lifetime reminiscences of a 94-year-old former supervisor of the sample department in an embroidery workshop and of two hand-embroiderers, one 99 years old and the other 98 and at that time still Working at a hand embroidery machine. The text and Bernhard s photos give a glimpse of a world which, if it does not already belong to the past, must surely disappear soon.
A subject of special interest to me was the thoughts of Franz Zeier on the book as an object of use, which appeared in I990 under the title of Rightness and Lightness. A long time earlier I had seen a small exhibition of Zeier’s books in the foyer of the Zuirich Design Museum. I could not forget those books, which made such a deep impression on me owing to their honest craftsmanship, their simplicity and their great beauty. They provided the impetus not only for the Typotron volume but also for an exhibition and a series of lectures at the St.Ga1l University in Katharinen.
Every volume has accompanied me during months of planning and production, so that each of the past eleven years has received its unmistakable character. There was the year of Urs Oberli’s dinosaurs, the year of Fons Keller’s birdcages, the year of my wife Ursula’s 26 coloured letters. I remember with pleasure my happy collaboration with Adrian Frutiger and the months when I was dealing with embroidery, sequins and appliqué work and the vision of an unusual husband-and-wife business team. Finally I have allowed myself the enjoyment of making typography itself the theme of the eleventh and latest in the Typotron series. J.H.
TM SGM RSI 05/1994
TM誌の歴史
1882年にSGM誌がチューリヒのR.Scweizer氏によって創刊された。
1923年にはRSI誌がE.Guggiに氏により創刊。そして1933年、ベルンのスイスタイポグラフィ協会かTM(Typografische Monatsblatter)誌が創刊された。
1948年にTM誌とRSI誌が、さらに1952年にはSGM誌も加えた３誌がTM誌に合併。
尚、出版社はComedia社であり、1981年のRudolf Hostettler氏の没後からは、Jean Pierre Graberが編集を手掛けている。現在はLucius Hartmannの編集の下で季刊ベースで発行されている。