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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 ...
Armin Hofmann, Poster for Kunsthalle Basel, 1959. Swiss style (also Swiss school or Swiss design) is a trend in graphic design, formed in the 1950s–1960s under the influence of such phenomena as the International Typographic Style, Russian Constructivism, the tradition of the Bauhaus school, the International Style, and classical modernism.
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.
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. The grid came to imply the style and methods of Swiss Graphic Design. Ruder demonstrated a grid of nine squares as the basis for different sizes of image.
New Graphic Design, French: Graphisme Actuel) was a quarterly graphic design journal founded in 1958. [1] The journal disseminated the tenets of the International Typographic Style and was key in its emergence as a movement. Eighteen issues of the journal were published from 1958 to 1965. [2]
Specimen of the typeface Gerstner Programm. Gerstner Programm was designed by Karl Gerstner between 1964-67 and first published in Berthold's Diatype filmsetting format. 16 versions of the programme were generated, 8 regular and 8 italic, using the Sinar camera under the expert direction of GGK staff member Werner Richli.
The idea of the New was the basis for the transformation of the entire system of printed graphics and graphic design. [10] He advocated the use of standardised paper sizes for all printed matter, and made some of the first clear explanations of the effective use of different sizes and weights of type in order to quickly and easily convey ...
The designers that surrounded Hofmann were not as focused on using Swiss-style principles in application to their work. These stylistic choices proved to be a great influence on Weingart, who was one of the first designers to abandon these strict principles that controlled Swiss design for decades. [ 4 ]