▁to ▁set ▁aside ▁the ▁prim al ▁shape ▁of ▁letters . ▁He ▁thought ▁the ▁content ▁was ▁not ▁as ▁important ▁as ▁the ▁way ▁it ▁was ▁presented ▁because ▁in ▁order ▁to ▁understand ▁the ▁message ▁of ▁a ▁poster / cover , ▁one ▁had ▁to ▁understand ▁what ▁the ▁artist ▁tried ▁to ▁communicate ▁with ▁the ▁arrangement ▁of ▁words ▁or ▁each ▁letter . ▁The ▁ins cri ptions ▁started ▁to ▁be ▁constructed ▁in ▁a ▁way ▁to ▁catch ▁the ▁eye ▁– ▁unlike ▁“ trad itional ” ▁typ ography ▁which ▁was ▁perce ived ▁as ▁an ▁addition ▁to ▁a ▁text . ▁As ▁a ▁form ▁of ▁insp iration , ▁architecture ▁also ▁began ▁to ▁lose ▁its ▁value ▁because ▁avant - gar de ▁artists ▁were ▁drawing ▁their ▁ideas ▁from ▁paint ings ▁and ▁graphics . ▁Jan ▁Tsch ich old , ▁the ▁cre ator ▁of ▁one ▁of ▁many ▁definitions ▁and ▁the ▁most ▁known ▁the or etic ian ▁of ▁avant - gar de ▁typ ography ▁stated ▁that ▁its ▁basic ▁rules ▁should ▁be ▁lack ▁of ▁symmetry , ▁contrast ▁and ▁total ▁freedom ▁of ▁creation . ▁Con tr ary ▁to ▁other ▁gen res ▁of ▁art , ▁avant - gar de ▁cre ators ▁were ▁also ▁its ▁theoret icians ▁and ▁research ers . ▁ ▁Mag az ines ▁ ▁Av ant - gar de ▁typ ography ▁was ▁spread ing ▁slowly . ▁The ▁artists ▁started ▁to ▁design ▁magazine ▁covers ▁which ▁became ▁particularly ▁popular ▁in ▁eastern ▁Europe ▁and ▁the ▁B alk ans . ▁In ▁Poland , ▁though ▁typ ography ▁was ▁used ▁as ▁a ▁tool ▁to ▁create ▁leaf lets ▁and ▁post ers . ▁Mag az ines ▁didn ’ t