In 1929 the Condé Nast publishing group brought Russian-born Mehemed Fehmy Agha—who had been working for the German edition of Vogue magazine—to America as art director for House & Garden, Vanity Fair, and the senior edition of Vogue.

1929年，康泰納仕(CondéNast)出版集團(tuán)將出生于俄羅斯的Mehemed Fehmy Agha(曾為德國版《 Vogue 》雜志工作的人)帶到美國，擔(dān)任House＆Garden，Vanity Fair和Vogue的高級版的藝術(shù)總監(jiān)。

Considered avant-garde at the time, Agha introduced sans-serif typefaces, the practice of bleeding photos off the page, and first the use of duotone images (black-and-white photos printed in two colors) followed by the first full-color photograph to grace Vogue magazine in 1932. He was also the first to view publications as a series of spreads—what we tend to redundantly refer to as “double page spreads”—instead of a series of individual pages.

Agha當(dāng)時被認(rèn)為是前衛(wèi)的，它引入了sans-serif字體，將照片從頁面上滲出的做法，首先使用了duotone圖像(以兩種顏色打印的黑白照片)，然后是第一個全彩色這是1932年給Vogue雜志拍攝的照片。他還是第一個將出版物視為一系列價差的人，而不是一系列單獨(dú)的頁面，而我們通常將其稱為“雙頁價差”。

Aside from the innovations Agha is known for today, it was his first attempt to inject European design sensibilities into an American publication that proved to be his most controversial, and shortest-lived.

除了Agha如今聞名的創(chuàng)新之外，這是他首次嘗試將歐洲的設(shè)計敏感性注入美國出版物，這被證明是他最有爭議且壽命最短的出版物。

本實(shí)驗 (The experiment)

In the early months of his new role with Condé Nast, Agha and Vanity Fair made type history with the introduction of Paul Renner’s new sans serif typeface, Futura. But the move away from the more conventional serif style wasn’t the biggest change. Agha, additionally, made the editorial resolution to eliminate all capital letters from headlines on columns and feature articles—a decision that supporters of the Bauhaus movement applauded.

在與康泰納仕(CondéNast)一起擔(dān)任新職務(wù)的最初幾個月，阿格(Agha)和名利場(Vanity Fair)通過引入保羅·雷納(Paul Renner)的新無襯線字體Futura創(chuàng)造了字體歷史。 但是，從更傳統(tǒng)的襯線樣式轉(zhuǎn)變并不是最大的改變。 此外，阿格哈(Agha)做出了編輯性決議，從專欄和專題文章的標(biāo)題中刪除了所有大寫字母，這一決定得到了包豪斯運(yùn)動的支持者的贊賞。

The idea to use only lowercase letters for a premier publication was quite controversial, while at the same time expressing the height of Modernism in typography. Even more impressive was Agha’s ability to convince some of the most powerful names in publishing to challenge conventions.

在首屈一指的出版物中只使用小寫字母的想法引起了很大爭議，同時表達(dá)了現(xiàn)代主義在印刷術(shù)中的高度發(fā)展。 更令人印象深刻的是，阿哈(Agha)能夠說服出版業(yè)中一些最有力的名字來挑戰(zhàn)公約。

All lowercase typography was introduced in Europe by the Bauhaus shortly after WWI and slowly made its way west until it graced the pages of Vanity Fair. The movement initiated by the Bauhaus became known as New Typography, and it brought design to the forefront of the avant-garde in Europe; but the concept had primarily applied to large display type only. Agha was the first to attempt a full-scale editorial style shift.

第一次世界大戰(zhàn)后不久，包豪斯(Bauhaus)在歐洲引入了所有小寫字體，并逐漸向西移動，直至成為名利場(Vanity Fair)的封面。 包豪斯(Bauhaus)發(fā)起的機(jī)芯被稱為“新版式”，將設(shè)計帶到了歐洲前衛(wèi)的最前沿。 但是該概念主要僅適用于大型顯示??類型。 Agha是第一個嘗試全面改變編輯風(fēng)格的人。

A spread from the October 1929 issue of Vanity Fair that introduced lowercase titling1929年10月發(fā)行的《名利場》中的一種形式，引入了小寫標(biāo)題

Shortly before Vanity Fair’s participation, designer Jan Tschichold defined guidelines for the movement in his landmark book Die Neue Typographie (The New Typography) in 1928, and his methods were adapted throughout Europe almost overnight. Tschichold’s ideas were reinforced years later by Herbert Bayer in his book The Bauhaus 1919–1931 when he expressed a profound idea behind the movement: “Why should we write and print with two alphabets? Both a large ‘a(chǎn)’ and a small sign are not necessary to indicate one single sound…We do not speak a capital A and a small ‘a(chǎn).’”

在Vanity Fair參加展覽前不久，設(shè)計師Jan Tschichold在他的地標(biāo)性著作《新 印刷術(shù) 》( Die Neue Typographie ，新印刷術(shù))中為運(yùn)動定義了指導(dǎo)方針，他的方法幾乎在一夜之間被整個歐洲采用。 幾年后，Tschichold的思想得到了赫伯特·拜耳(Herbert Bayer)在他的著作《包豪斯1919– 1931年》中的支持，當(dāng)時他表達(dá)了這一運(yùn)動背后的深刻思想：“為什么我們要用兩個字母書寫和打印？ 大號“ a”和小號都不必表示一個單一的聲音……我們不會說大寫字母“ A”和小號“ a”。”

The American “l(fā)owercase experiment” helped visually define Vanity Fair as a progressive force in American publishing, and because it can be argued that all lowercase typography has the opposite effect of setting type in all caps—a preferred style for defining emphasis—the experiment was effective in bringing a simpler degree of elegance to an already elegant magazine.

美國的“小寫字母實(shí)驗”從視覺上幫助將《名利場 》定義為美國出版業(yè)的一支進(jìn)步力量，并且因為可以說所有小寫字母的排版都對所有大寫字母設(shè)置類型(定義重點(diǎn)的首選樣式)產(chǎn)生了相反的影響，因此有效地為本來就優(yōu)雅的雜志帶來了更簡單的優(yōu)雅。

But by the March 1930 issue—just five issues later—capital letters reappeared along with the full-page editorial “A Note on Typography” explaining the reverse decision and reasons for returning to the norm. Such an explanation in design policy was a first in American publishing. The following are excerpts from their editorial presenting the pros and cons of capital letters in titles:

但是到了1930年3月，僅五個問題之后，大寫字母又出現(xiàn)在整頁社論《 印刷術(shù)注釋 》中，解釋了相反的決定和回歸規(guī)范的原因。 設(shè)計政策中的這種解釋是美國出版界的首次。 以下是他們社論的摘錄，標(biāo)題中以大寫字母表示了正反兩面：

印刷注意事項 (A Note on Typography)

“Vanity Fair has for the past several months omitted capital letters in the titles and subtitles of its articles and illustrations. The hawk-eyed reader will note that this issue of Vanity Fair returns to capital letters. Posterity anyway will be grateful for a review of the considerations that have led Vanity Fair, first to dispense with capital letters in its headings and now, after a trial period of five issues, to return to them.

在過去的幾個月中， “名利場”在其文章和插圖的標(biāo)題和副標(biāo)題中都省略了大寫字母。 眼花reader亂的讀者會注意到，本期《 名利場》重返大寫字母。 無論如何，后代將不勝感激，回顧了導(dǎo)致《名利場》所考慮的因素，首先取消了標(biāo)題中的大寫字母，現(xiàn)在經(jīng)過5期的試用期后又返回給它們。

“In using, and continuing to use, the new typography, Vanity Fair believes that it knows very well what it is doing. In modifying one of the conventions of the new typography by returning to the use of capital letters in titles, it is obeying considerations that outlast any mere ‘revolution in style.’

“在使用并繼續(xù)使用新版式時， Vanity Fair相信自己非常了解自己在做什么。 在返回標(biāo)題時使用大寫字母來修改新字體的一種約定時，它遵循的考慮要比任何“樣式的改變”都要持久。

A Note on Typography, from the March 1930 issue1930年3月發(fā)行的版式說明

“A title set entirely in small letters is unquestionably more attractive than one beginning with a capital or with every word beginning with a capital, but, at the present time, it is also unquestionably harder to read because the eye of the reader is not yet educated to it. The issue is thus one between attractiveness and legibility, or between form and content, and Vanity Fair, not wishing to undertake a campaign of education casts its vote by returning to the use of capital letters in titles, to legibility, and to the cause of content above form.”

“毫無疑問，一個完全用小寫字母開頭的標(biāo)題比以大寫字母開頭或每個單詞以大寫字母開頭的標(biāo)題更具吸引力，但是，目前，它無疑也更難閱讀，因為讀者的眼光還沒有受過教育。 因此，問題是吸引力和可讀性之間，還是形式和內(nèi)容之間的問題，并且不愿進(jìn)行教育運(yùn)動的名利場投票通過使用標(biāo)題中的大寫字母，易讀性和原因來投票。內(nèi)容高于表格。”

阿哈的遺產(chǎn) (Agha’s Legacy)

Agha brought the brilliance of European avant-garde experimentation to Condé Nast’s flagship publications. Particularly Vanity Fair which, under his direction, would become one of the most influential arts and letters magazines of the era. He stayed with Condé Nast until 1943, later becoming a highly sought-after publishing consultant in addition to terms as president of both the Art Directors Club (1935) and AIGA (1953–55). His pioneering implementation of full-color/full-coverage artwork ultimately led to his identification as the first modern art director in America.

阿哈(Agha)將歐洲前衛(wèi)實(shí)驗的光輝帶入了康泰納仕(CondéNast)的旗艦出版物。 特別是《名利場》 ，在他的指導(dǎo)下，它將成為該時代最有影響力的藝術(shù)和文學(xué)雜志之一。 他留在康泰納仕(CondéNast)直到1943年，之后成為藝術(shù)總監(jiān)俱樂部(1935)和AIGA(1953–55)的總裁，后來成為備受追捧的出版顧問。 他對全色/全覆蓋藝術(shù)品的開創(chuàng)性實(shí)施最終使他成為美國第一位現(xiàn)代藝術(shù)總監(jiān)。

But his implementation, and subsequent retraction, of this short-lived modern typography experiment certainly left a strange footnote to his legacy.

但是，對于這個短暫的現(xiàn)代版式實(shí)驗，他的實(shí)現(xiàn)以及后來的撤消無疑為他的遺產(chǎn)留下了一個奇怪的腳注。

Vanity Fair’s “A Note on Typography” would become a prime example of how typography and graphic design can be discussed on a public stage. The essay went as far as tracing the Roman origins of capital letters and development of the Carolingian miniscule, and attempted to define the role of an editorial publication in modern society, while at the same time somehow mocking the general public as uncultured and unprepared for such a revolutionary (and superior) shift in style and taste.

Vanity Fair的 “版式說明”將成為如何在公共舞臺上討論版式和圖形設(shè)計的主要示例。 這篇文章可以追溯到羅馬大寫字母的起源和加洛林式微縮字體的發(fā)展，并試圖定義社論出版物在現(xiàn)代社會中的作用，同時又以某種方式嘲笑普通民眾，因為他們沒有文化素養(yǎng)并且沒有為此做好準(zhǔn)備風(fēng)格和品味的革命性(和卓越)轉(zhuǎn)變。

Moreover, “A Note on Typography” is a unique historical record of the introduction of design considerations to the public. Agha’s lowercase experiment may not have had a lasting effect on the publication, but the aftermath holds a key place in typographic legend.

此外，“印刷注意事項”是向公眾介紹設(shè)計注意事項的獨(dú)特歷史記錄。 阿哈(Agha)的小寫實(shí)驗可能不會對該出版物產(chǎn)生持久影響，但是后果在印刷傳奇中占有重要地位。

More by Jon Robinson

Jon Robinson的更多內(nèi)容

翻譯自: https://blog.prototypr.io/the-case-against-case-an-unconventional-approach-to-typography-c0b5ae882fb1

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