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SWISS INTERNATIONAL / Overview I / Xxxv GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / OVerView i / XXXV Swiss International 1 Origins 1 2 The International Typographic Style 11 3 Swiss Type Design 17 4 High Modernism 21 5 Conclusion 35 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / OVerView ii / XXXV © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL 1 / 35 Origins 1902–1974 The seeds of the International Typographic Style were planted with the seminal writings of German designer Jan Tschichold in the late 1920’s. © KEVIN WOODLAND, 2015 ERNST KELLER GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 2 / 35 1902–1974 Jan Tschichold • Leipzig, Germany • Design practitioner, writer, and theorirst • Son of a provincial signwriter • Trained in calligraphy • Artisan background and calligraphic skills gave him a distinct advantage © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 3 / 35 1923–1933 Jan Tschichold • Converts to Modernist design principles after visiting the first Weimar Bauhaus exhibition • He becames a leading advocate of Modernist design (not unlike Bayer and van Doesburg) • Published many pamphlets proclaiming his modernist ideas • Quickly made use of Bauhaus and Constructivist ideals © KEVIN WOODLAND, 2015 (TOP) JAN TSCHICHOLD, POSTER FOR WARSAW PHILOBIBLON, 1924; (BOTTOM) JAN TSCHICHOLD, COVER FOR ELEMENTARE TYPOGRAPHIE, 1925 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 4 / 35 © KEVIN WOODLAND, 2015 (LEFT) JAN TSCHICHOLD, CINEMA POSTER FOR DIE HOSE (THE TROUSERS), 1927; (RIGHT) JAN TSCHICHOLD, EXHIBITION POSTER FOR KONSTRUCTIVISM (CONSTRUCTIVISM), 1937 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 5 / 35 1925 Jan Tschichold • Advocated the use of standardised paper sizes for all printed matter • He shyed away from handmade papers and custom fonts (the preference of mose typographers) • Preferred to use existing fonts • Careful choice from commercial paper stocks • Some of the first clear explanations of information hierarchy via different sizes and weights of type • His ideas had a wide influence among ordinary workers and printers in Germany © KEVIN WOODLAND, 2015 JAN TSCHICHOLD, SPREADS FROM ELEMENTARE TYPOGRAPHIE, 1925 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 6 / 35 1927 Die Neue Typographie • Writes The New Typographie in 1927 • A manifesto of modern design • Codified many existing Modernist design rules and ideas • Condemned all typefaces but sans-serif (called Grotesk in Germany) • Asymettric layout • Flush-left headlines • Uneven line lengths (ragged right) • Asymmetry • Contrasting elements © KEVIN WOODLAND, 2015 JAN TSCHICHOLD, DIE NEUE TYPOGRAPHIE, 1927 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 7 / 35 1927 Die Neue Typographie • Designs were based on an underlying horizontal and vertical structure • Spatial intervals were seen as important design elementsW • White space was given a new role as a structural component • Rules, bars, and boxes were often used for structure, balance, and emphasis • The precision and objectivity of photography were preferred for illustration • Black-and-white, reduced color palette • Maximum contrast allowed distinct forms, zone, and therefore greater organization • Scale shifts • Stripped of unessential elements • Sans-serif type reduced the alphabet to its basic elementary shapes © KEVIN WOODLAND, 2015 JAN TSCHICHOLD, EXHIBITION POSTER AND CATALOG FOR DER BERUFSPHOTOGRAPH (THE PROFESSIONAL PHOTOGRAPHER), 1938 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 8 / 35 1932 Jan Tschichold • Slowly abandoned his rigid beliefs from around 1932 onwards • Acceptance of classical Roman typefaces for body-type • Moved back towards Classicism in print design • He later condemned Die neue Typographie as too extreme, on par with Nazi-ism • He also went so far as to condemn Modernist design in general as being authoritarian and inherently fascistic © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 9 / 35 1947 – 1949 Penguin Years • Lived in England for two years where he oversaw the redesign of 500 paperbacks published by Penguin Books • Established the Penguin Composition Rules • Four-page booklet of typographic rules and standards • Redesigned the penguin logo © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Origins 10 / 35 1928 Theo Ballmer As early as 1928, Ballmer is utilizing grid modules to aide in letterform construction. Absolute mathematical construction is used, rather than the asymmetrical horizontals and verticals of De Stijl. – MEGGS © KEVIN WOODLAND, 2015 THÉO BALLMER, (LEFT) POSTER FOR A TRAVELING EXHIBITION OF INDUSTRIAL STANDARDS, 1928; (RIGHT) DETAIL OF PREVIOUS IMAGE GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL 11 / 35 The International Typographic Style 1940’S – 1960’S While Tschichold reconsidered his original beliefs, the principles laid out in The New Typography were absorbed by a new generation of Swiss graphic designers. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / The International Typographic Style 12 / 35 1919 Max Huber • Born in Baar, Switzerland • Graduates from Kunstgewerbeschule in Zurich © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / The International Typographic Style 13 / 35 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / The International Typographic Style 14 / 35 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / The International Typographic Style 15 / 35 1918–1984 Anthony Froshaug • English typographer • Joined the Ulm faculty as a professor of graphic design from 1957 until 1961 • Set up the typography workshop there • His design of the Ulm journal’s first five issues is paradigmatic of the emerging movement © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / The International Typographic Style 16 / 35 1940’S Max Bill Bill also made use of the grid in his work, but also brought a strong sense of the fine arts to his layouts. Mathematical proportion, geometric spatial division, and the use of Akzidenz Grotesk type (particularly the medium weight) are features of his work of this period. – MEGGS © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL 17 / 35 SECTION DATE Swiss Type Design In search of neutrality, Swiss designers created a set of legible and versatile sans serifs (based on existing models such as Akzidenz-Grotesk) that have lasted for several generations. © KEVIN WOODLAND, 2015 AKZIDENZ-GROTESK, GÜNTER GERHARD LANGE, BERTHOLD TYPE FOUNDRY, 1896 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Swiss Type Design 18 / 35 B. 1928 Adrian Fruitiger • Unterseen, Canton of Bern, Switzerland • Typeface designer who influenced the direction of digital typography in the second half of the 20th century and into the 21st • Best known for creating the Univers, Frutiger, and Avenir typefaces. • Ondine (1954) • OCR-B (1968) • Icone (1980) • Herculanum (1990) • Linotype Univers (1999) • President (1954) • Frutiger (1968) • Breughel (1982) • Vectora (1990) • Frutiger Next (2000) • Meridien (1955) • Iridium (1975) • Versailles (1982) • Linotype Didot (1991) • Nami (2006) • Egyptienne (1956) • Roissy (for Charles de • Linotype Centennial • Pompeijana (1992) • Frutiger Arabic (2007) Gaulle Airport 1972, (1986) • Univers (1957) • Rusticana (1993) • Frutiger Serif (2008) Linotype 1976) • Avenir (1988) • Apollo (1962) • Frutiger Stones (1998) • Neue Frutiger (2009) • Glypha (1977) • Westside (1989) • Serifa (1967) • Frutiger Symbols (1998) © KEVIN WOODLAND, 2015 ADRIAN FRUTIGER, UNIVERS TYPEFACE MATRIX, 1957 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Swiss Type Design 19 / 35 © KEVIN WOODLAND, 2015 ADRIAN FRUTIGER, UNIVERS TYPEFACE (LEFT), 1957; AVENIR TYPEFACE (RIGHT), 1988 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / Swiss Type Design 20 / 35 1957 Die Neue Haas Grotesk • Designed by Swiss typeface designer Max Miedinger with input from Edouard Hoffmann • Influenced by 19th century typeface Akzidenz-Grotesk • Favored for its machined neutrality • Hallmark of the International Typographic Style © KEVIN WOODLAND, 2015 EDOUARD HOFFMANN AND MAX MIEDINGER, DIE NEUE HAAS GROTESK, 1957 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL 21 / 35 1950’S – 1960’S High Modernism During the two decades at the middle of the century, the International Typographic Style reaches its maximum power and full potential. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / High Modernism 22 / 35 “If you can design one thing, you can design everything” – MASSIMO VIGNELLI 1931 – 2014 Massimo Vignelli • Born, Milan, Italy • Moved to NYC in 1966 • Co-founded Vignelli Associates with his wife, Lella © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / High Modernism 23 / 35 © KEVIN WOODLAND, 2015 MASSIMO VIGNELLI, NEW YORK CITY SUBWAY MAP, 1972 GDT-101 / HISTORY OF GRAPHIC DESIGN / SWISS INTERNATIONAL / High Modernism 24 / 35 B. 1920 Armin Hoffman • He began his career in 1947 as a teacher at the Allgemeine Gewerbeschule Basel School of Art and Crafts at the age of twenty-six • Followed Emil Ruder as head of the graphic design department at the Basel School
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