GD 135 HISTORY OF GRAPHIC DESIGN Chapter 18...... Typographic Style TERMS • Ernst Keller (pgs. 396-397) 404-407) • Swiss design (pg. 397) • Max Bill (pgs. 397-398) • Siegfried Odermatt & • Univers, (pgs. 400- • Max Huber (pgs.398-399) Rosemarie Tissi( pgs. 407-409) 401) • Anton Stankowski (pgs. 399- • Massachusetts Institute of • Palatino, Melior, Optima (pgs. 401) Technology (pgs. 410-413) 400-401) • Adrian Frutiger (pgs. 400-401) • Jacqueline S. Casey (pgs. • Hermann Zapf (pgs. 400-401) 410-413) PEOPLE AND PLACES • Armin Hofmann (pgs. 403-404) • Dietmar Winkler (pgs. 410- • Basel and Zurich, Switzerland • Josef Müller-Brockmann (pgs. 413) ...... Chapter 18 Study Questions During the 1950s, a design movement In the 1950s Max Bill, Otl Aicher, and emerged in Switzerland and Germany Anthony Froshaug developed the called1 Swiss design, or more appropriately, the graphic4 design program at the Institute of ______. Designers clarified their roles not Design in Ulm, Germany teaching scientific as artists, but as objective conduits spreading and methodological approaches to design information. Achieving clarity and order was problems, such as ______. the ideal. A. Asymmetrical organization of elements on a A. Bauhaus Style C. Memphis Design 4- grid and only 2 type sizes.

B. New D. International B. Sans- typography set flush-left, Typographic Style ragged-right. C. Strictly objective photography and factual More than any other individual, the quality information. and discipline found in the Swiss design movement2 is that of Ernst Keller. His designs D. All of A, B, and C. demonstrate ______. In Zurich, Max Huber studied ideas of A. symbolic imagery C. vibrant the Bauhaus and experimented with and simple geometric contrasting color photomontage.5 Unlike the purist approach of forms the Ulm Institute, Huber’s graphics were ____. D. all of A, B, The International B. expressive edges & C and A. mathematically precise, type aligned down the In Switzerland, Max Bill designed layouts center of the , creating of geometric elements with absolute order: harmony and order. mathematical3 proportion, geometric spatial division and the use of ______type. B. modular grids of geometric progressions, A. Germanica contrasts and relationships made to an ordered whole. B. Modern C. designs pushed to the edge of chaos, but C. Akzidenz Grotesk through balance and alignment he maintained order in the midst of complexity.

D. D. None of A, B, and C.

Zapfino Anton Stankowski transformed invisible scientific Josef Müller-Brockman was a processes and physical forces into visual concepts design theorist and practitioner in Zurich, underlying6 these forces. Instead of designing a Switzerland.10 His 1960 exhibition poster “der Film” trademark or unique typographic logo for use as demonstrates the universal design harmony achieved the unifying visual element, Stankowski developed a by ______. ______for consistent use on all material.

A. manipulated photo A. pictorial illustration images

B. tectonic element B. propagandistic persuasion techniques C. design from nature C. signs and symbols D. photomontage D. mathematical grid structures

In 1957, Swiss designer Adrian Frutigar released Armin Hoffman studied in Zurich and taught at the sans-serif ______: twenty- the Basel School of Design in Switzerland. His one7 visually related that can be combined to designs11 sought to solve problems of unifying type and achieve dynamic contrasts of weight, tone, width, and images, by ______. direction within one type family. A. replacing traditional pictorial ideas with a modern A. Akzidenz Grotesk aesthetic. B. Helvetica B. using pure typography and mathematical grids. C. Futura C. using crisp detailed photographs.

D. D. using only bright colors combined with typography.

In 1957, another new sans-serif was released The International Typographic Style was embraced in America at the ______. as Neue Haas Grotesk. Produced in Germany,8 the was renamed with the Latin name Letterforms12 became the key illustrations for the for Switzerland:______. It soon became a design, as in the 1969 hallmark of the International Typographical Style. poster for a computer programming course: the letters “cobol” emerge A. Didot C. Helvetica from a kinetic construction of type.

B. Comic Sans D. Optima A. Massachusetts German designer Herman Zapf was a master Institute of Technology of classical typography. What three (MIT), U.S. designed9 during the 1940s and 1950s are regarded as major type designs? B. School of Applied Art in Zurich, Switzerland A. Akzidenz Grotesk & Futura , Gill Sans, C. Institute of Design in Ulm, Germany A. Palatino, Melior, & Optima D. Basel School of Design A. Didot, Modern, & Fat Face in Basel, Switzerland A. Neuland, Germanica, & Behrens