1940-1950 Design

When PENGUIN was founded in 1935 with the radical concept of producing inexpensive paperback editions of high quality books, it adopted an equally progressive approach to typography and cover design. Under Jan Tschichold in the 1940s and Germano Facetti in the 1960s, Penguin became an exemplar of book design. The discovery began, when publisher Allen Jane scoured a london train station for something to read. All he could find were reprints of 19th century novels and Lane decided to found a publishing house to produce good quality paperbacks, sold at sixpence each.

Lane’s secretary suggested Penguin as a “dignified, but flippant” name for the company and the office junior Edward Young was sent to sketch the penguins at London Zoo as its logotype. Young was then asked to design the covers of the first set of ten paperbacks to be published in summer 1935 including Ariel and A Farewell to Arms. Considering illustrated book covers to be trashy, Lane insisted on his following a simple horizontal grid for Penguin’s jackets in colours that signified the genre of each book: orange for fiction, green for crime, and blue for biography.

The rigorous application of colour, grid and typography in those early paperbacks instilled Penguin with a commitment to design from the start. The company then strengthened its design ethos under the direction of the German typographer Jan Tschichold (1902-1974) during the 1940s and the Italian art director Germano Facetti (1926-) in the 1960s.

The design of individual books had appeared cohesive, at least compared to those of rival publishers, but had varied with the views of the editor and printer. A firm believer in typographic systems, Tschichold designed a template for all Penguin books with designated positions for the title and author’s name with a line between the two. He unified the design of the front, spine and back and redrew Edward Young’s endearingly amateurish Penguin symbol in eight variations. Finally he produced a set of Composition Rules which, he insisted, were to be followed by Penguin’s typographers and printers to ensure that the same style was always applied.

Tschichold was equally rigorous in the design of special sets of books published by Penguin. These included Penguin Modern Painters, introduced in 1944 by the art historian Sir Kenneth Clark to popularise modern art to “the wide public outside the art galleries”, and the Penguin Shakespeare Series, which had the same democratising objective for William Shakespeare’s plays. Among Tschichold’s innovations was to persuade Allen Lane to allow Penguin to take advantage of recent advances in printing by using illustration on the jackets of particular sets of books such as the Shakespeare Series.

In 1949 Tschichold returned to Switzerland after three highly productive years in which he had defined an intellectually rigorous and inspiring visual language for Penguin. His successor, the typographer Hans Schmoller (1916-1985) had a rich knowledge of type and unerring eye for detail, but was less radical in his approach and tended to refine Tschichold’s templates rather than inventing his own. Schmoller’s design for the 1950s architectural series, The Buildings of England written by the historian Nikolaus Pevsner, was modelled closely on Tschichold’s templates. However he did change the Penguin grid from horizontal to vertical in 1951. The vertical grid had been devised at Tschichold’s behest by the designer Erik Ellegaard Frederiksen, but was not adopted until Schmoller had modified it. The result was the division of the cover into three vertical stripes, which allowed enough space for illustration while maintaining the tri-partite division and the original 1930s colour coding so strongly associated with Penguin.

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