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A 1969 Swiss poster in International Typographic Style A 1959 Swiss poster. The style emerged from a desire to represent information objectively, free from the influence of associated meaning. The International Typographic Style evolved as a modernist graphic movement that sought to convey messages clearly and in a universally straightforward ...
The term Swiss Style is also sometimes completely identified with the concept of International Typographic Style. This is wrong. The Swiss school, being a continuation of the International Typographic Style, is an autonomous phenomenon. [7] Swiss style is an independent system associated with the formation of the graphic style of the 1950s ...
Wolfgang Weingart is credited with developing New Wave typography in the early 1970s at the Basel School of Design, Switzerland. [2] [3] New Wave along with other postmodern typographical styles, such as Punk and Psychedelia, arose as reactions to International Typographic Style or Swiss Style which was very popular with corporate culture.
The Swiss Style (as a conditional continuation of International Typographic Style) was developed in Switzerland in the 1950s. [7] This style was defined by the use of sans-serif typefaces, and employed a page grid for structure, producing asymmetrical layouts. By the 1960s, the grid had become a routine procedure.
Josef Müller-Brockmann (9 May 1914 – 30 August 1996) was a Swiss graphic designer, author, and educator, he was a Principal at Muller-Brockmann & Co. design firm. He was a pioneer of the International Typographic Style. [1] One of the main masters of Swiss design.
International style is sometimes understood as a general term associated with such architectural phenomena as Brutalist architecture, constructivism, functionalism, and rationalism. Phenomena similar in nature also existed in other artistic fields, for example in graphics, such as the International Typographic Style and Swiss Style. [20] [21]
Typeface remains the groundwork for design concepts. The hallmark of early modern typography is the sans-serif typeface. "Because of its simplicity, the even weight of its lines, and its nicely balanced proportions, sans serif forms pleasing and easily distinguished word patterns – a most important element in legibility and easy reading."
In the mid 1940s, Ballmer and his contemporary, Max Bill, pioneered a new style of graphic design characterized by the use of photography, sans serif typefaces, and logical arrangement of elements. The work produced by the two designers in this period proved foundational to the later emergence of the International Typographic Style. [3]