New Typography in Scandinavia

Trond Klevgaard is a design historian and graphic designer. He is Associate Professor of Design History at Kristiania University College, Norway, where he was previously head of the degree program in Graphic Design. He holds BA (Hons) and MA degrees in graphic design from London College of Communication, UK, and a PhD in History of Design from the Royal College of Art, UK.

• ContentsList of FiguresList of PlatesAcknowledgementsNote on TranslationIntroduction1. Origins and NetworksOrigins of the New TypographyScandinavian Nodes in the Avant-Garde NetworkSection One: Printing and Advertising Cultures2. Modification: The Printing Trade's Versions of the New TypographyThe New Typography from Avant-Garde Printing to TradeThe New Typography in Scandinavian Printing Education3. Compartmentalization: Cultures and Practices of AdvertisingJobbing Print, Commercial Art and Lay-OutDiscreet Professional Communication NetworksCompeting Cultures of Design and ProductionSection Two: Printing and Society4. Realignment: Functionalism as Ideology, Style and ResistanceFrom Elementarism to FunctionalismFrom Funkis to Functional TypographyTowards the Functional Book5. Isolation: Future-People and Rational ConsumersThe Swedish Cooperative Society: Adopter of 'Wild' New TypographyPrint Designs of the Avant-Garde LeftTargeting the Young and Femaile Vote through 'Wild' Photomontage6. AssimilationThe New Typography Under OccupationA New Style in Neutral SwedenConclusionGlossary

The history of modernism in typography is too often told through a limited number of familiar pieces of work, with the emphasis on a small cast of central and eastern European characters. Through thorough research into contemporary accounts, and by not concentrating solely on the avant-garde, Trond Klevgaard opens our eyes to Danish, Norwegian, and Swedish designers whose work in the mid-20th century was international in inspiration but decidedly Scandinavian in application. This book brings a much-needed northern European perspective to the history of the ‘new typography’.