Many years ago I borrowed this book from a research library. And in the next few days, I couldn't put it down. I found this book very informative. It opened a door to the art of calligraphy and lettering to me. This book is composed of two parts. The first of it are some articles explaining the evolution of various kinds of calligraphy and lettering crafts. The second part, examples of these artworks. If you love typography, caligraphy or fine arts as a general, you will love this book.

If you are interested in the history of typography, this book can also be very helpful to you as it provides you with a firm background of very needed knowledge.

I hope there will be another book like this one that stress the mechanical part of lettering. How different tools, say broad-tip pens, brushes, chisels, counterpunches, affect the shape of letters.

As other reviewers have written before me, this book surely has an historical value to it. It allows the reader to have a quick glance to a particular historical moment of typography in pre-WWII Germany, written in a Marxist tone. Also, the layout of the book is a beauty in itself, with its glossy paper and sans-serif Futura font. But that is pretty much it, unless you want to read it because you are a student in History of Typography. Do not expect to learn basic or advanced typographic elements here. If you want that, read "The Elements of Typographic Style" by Robert Bringhurst instead.

I was expecting something more contemporary when bought this book. Nevertheless, I enjoyed the book and have been glad I bought it. It is true, the author overstates his points on what constitutes good vs. bad typography, even going so far as to make philosphical "natural law" arguments in favor of good type! The social scientist in me enjoyed the Marxist overtones to his diatribe, and the artist in me enjoyed the period type of his Weimar Republic era work. While I won't suggest that one couldn't learn a thing or two from his principals of the "new typography", to my mind this is a book for art/social historians.

Este libro introduce en el estudio de las nuevas tipografias que surgen a principio de siglo en Alemania. Si bien el traductor reconoce que el autor esta equivocado en algunas de sus apreciaciones (tengan en cuenta que se escribio a principios de siglo) no deja de ser una forma de comprender los cambios mentales que surgen de las tipografias, y como estas interactuan con la sociedad.

The views are a little old fashioned for me. Mr Tschichold is very much of the old school. He expounds many "rules" of book design, but most of these are his personal taste, and are presented in a high-handed, dictatorial, and condescending tone. There is no room whatsoever for creativity in book design in his view, instead all books must follow his design.

Useful for reminding us of some of the core principles of typography and book design, but if all publishers agreed with the author's views, the book world would be a very boring place. I would like to see a debate between Jan Tschichold and David Carson!!

there is little to say other than the fact that this book is essential reading for all current and aspiring book designers. Tschichold's views seem limiting at first, but his knowledge is based on years of careful research into the basis of our written culture. many will choose to deviate from his instruction in small or great ways, but to practice the craft of book typography (or typography in general) without this information would be unwise.

This collection of 23 essays on book design and typography should be read at least once by all typographers and students of design. Written over a period spanning 42 years, these essays cover many aspects of typography from paper color to tight typesetting to page proportions. A few of the ideas presented in the essays may indeed be outdated now (due mainly to the economic freedoms in modern digital design), but they are few and are still important from an historical persective. Folloowing the rules of design presented here will help ensure a well designed book that does not detract from the contents in any way and best serves to allow that content to speak for itself. Even if you want to always break the rules of design, isn't it better to understand why and how those rules came to be? Of interesting note is that Jan himself was in his youth a radical rulebreaker in his designs, but he learned when it was best to work inside and outside the rules to present the best effect, his design legacy shows how effective he was, and how influencial he remains to this day.

First the good. "Life in Typography" is a beautifully illustrated paperback containing gorgeous, intriguing scans of pages and illustrations from the work of typographer/illustrator Jan Tschichold. Fortunately, a number of reprints in the book are reprinted actual size, to give the viewer a distinctly real vantage point into what the originals actually looked like. So unless you've got the cash to buy out-of-print books, this is by far the most sane route. And it's not too expensive either.

But the only problem I had with the book is that I wanted to learn more about the artist himself. Tschichold's bold, at times abbrasive tone comes out in his pen sketched notes on a number of reprints and in-house drafts, leading the reader to believe he was probably one obnoxious, colorful, temperamental character. Instead, "A Life in Typography" sheds little light on the 'life' of Tschichold, and focuses instead on images with little explanation.

Were there no interviews with Tschichold that could have been reprinted? A larger window into his persona would have really helped understand his persistance and drive for typographic perfection.

But of everything reprinted in the book, quite possibly the most stirring, worthy part is a four page reprint of "Composition Rules" written by Tschichold and distributed to employees of the Penguin Book company. It's forceful, blunt, and essential reading for anyone involved in typesetting. He explains in detail how to treat capitals, italics, paragraph indents and punctuation marks. His thoughts and opinions about typography leap off the page.

So if you need a quick reference of his work, or are someone who just discovered the name Tschichold, this is a must have for your design library.