International Typographic Movement by Allie Powell

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This book was created in the fall of 2013 for the final project of GDES-210, Typography 1, at

American University. All copy and design were

created by Allie Powell unless otherwise

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stated. The typeface used throughout the book is Univers, designed by Adrian Frutiger. The pages were

printed using a HP Color Laser Jet printer and were

Allie Powell.

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personally bound by

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04 02 With every great idea there is a great man, or woman, who is standing behind it. In the case of the International Typographic Movement, it took the ideas of several who spread the movement globally to the extent that core principles are still intact today. This book was created to acknowledge those designers. While the individuals discussed created works

and theories that crossed into the realm of others, each section is narrowed down to discuss only one principle in light of one designer. Emil Ruder, for example, contributed to the International Typographic Movement in more ways than

typography; however, the discussion of Ruder’s work is limited to typography in order to fully discuss his contributions to typography in adequate detail. Likewise, the division of other sections allow for each principle of Swiss Style to be

fully discussed. In all, Emil Ruder will stand as an example of typographic choices at the time. Josef Müller-Brockmann is discussed for his notable contributions to the grid system. Armin Hofmann is used to exemplify the movement’s

approach to objective, simplified design. Lastly, Karl Gerstner stands as an example for how these attributes contributed to designs that could unify brands, which was commonly used in establishing brands or corporate identities at the time.

It is also necessary to note that while the movement applied to multiple fields of design, the term design in this booklet will be solely used to refer to graphic design. All images used are by the designer discussed on that particular page.

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INTRODUCTION INTRODUCTION INTRO The International Typographic Movement began in Switzerland and has therefore adopted misleading names such as Swiss Style; however, the movement was prominent in other regional countries such as the Netherlands, Russia, and Germany (Terror). Although the style did not gain popularity until the 1950s and 60s, it began in the 20s among the De Stijl and Bauhaus movements. The Dutch De Stijl movement was founded on harmonic abstraction, which influenced Swiss Style to be more geometric. The Bauhaus movement, which preached that form should follow function, guided the Swiss to also eliminate any access ornamentation from their work. Likewise, at the time the Swiss were known for their work in mechanical engineering and pharmaceuticals, so the style coincided with a more logical and professional approach. Designers turned away from artistic notions of creating works of self-expression, and instead they constructed designs that could be reproduced in multiple ways but still be universally understandable. Together, the designers created a system of useful, universal, scientific, and timeless designs. Objectiveness was a standard and clarity was held above all. Designs emerged using grids as the universal language. Works were asymmetrical, geometric, and minimalist. Unnecessary ornamentation was obsolete. It was clear. It was precise. It was objective.

Mondrian’s painting above exemplifies De Stijl’s style of harmonic abstraction, while the Bauhaus poster on the left shows the Bauhaus’ geometric influence.

INTRODUCTION / 5

EMIL

RUDER

TYPOGRAPHY

Emil Ruder, born in Switzerland in 1914, was a typographer, graphic designer, and teacher for over 25 years (Emil Ruder). He helped establish Swiss Style largely through his contributions to typography. His contributing theories can be found in his book Typographie, which he wrote in 1967. In this book, he wrote that typography and design are “virtually synonymous” (Ruder 34). They are connected because typography’s main purpose is to communicate ideas while other design elements are meant to further support the same message (Ruder 6). When used correctly, the combination of good typography and design allows for a clear and strong message.

Ruder emphasized specific typographic choices to maintain a clear message, specifically sans serifs for their clarity. In particular, he praised the Univers font family because of its large x-height and the consistency between miniscule and capital letters (Ruder 47). This allowed the type to be more legible even at smaller sizes. Other popular typefaces at the time were Helvetica, Frutiger, and Akzidenze Grotesk. These type faces were revolutionary at the time because previous type choices were primarily used in the 20s and 30s (Müller-Brockmamn 7). Ruder considered type founding at the time a “chaotic state of affairs,” and therefore he promoted sans serifs to bring back clarity (Ruder 14). Not only did Ruder focus on the particular typeface, but also on using typefaces and letters as a primary design element in constructing compositions. Ruder liked asymmetrical compositions and to create asymmetry he emphasized the importance of negative space and the use of the counters of characters (Ruder 16). To explain the importance of the white space surrounding a particular letter, Ruder in his book uses a philosophical explanation from the eleventh aphorism of Lao-Tse, an ancient Chinese philosopher:

“Thirty spokes meet the hub, but it is the emptiness between them that makes the essence of the wheel. From clay pots are made, but it is the emptiness inside them that makes the essence of the pot. Walls with windows and doors form the house, but it is the emptiness between them that makes the essence of the house. The principle: The material contains usefulness, the immaterial imparts essence.”

– LAO-TSE

As Ruder through Lao-Tse points out, white space is critical. It is not only useful in creating pleasing compositions, but also crucial in creating the true meaning of a layout. While beginning graphic designers have the tendency to fill an entire page, in reality the viewer will not know where to look if the page is full. White space therefore becomes critical in every design to promote clarity, a tenet of Swiss Style. EMIL RUDER / TYPOGRAPHY / 7

ARMIN HOFMANN

Born in 1920, Armin Hofmann was raised in Winterthur, Switzerland. He later moved to Basel, Switzerland, where he opened his studio and taught at the Basel School of Arts and Crafts (Poynor). AIGA notes, however, that his work “transcend[s] any sense of nationality or ‘school’” (Poynor). Hofmann’s timeless style is largely characteristic of the International Typographic Movement’s minimalist design without excess ornamentation. Without unnecessary adornment, Hofmann sticks to using more fundamental design elements like lines and circles. Due to these rudimentary design elements, his designs are universally understood and do not require social context. Hofmann’s work is thus both timeless and universal. Hofmann teaches his students similar manners through his book Graphic Design Manual. The majority of the book is centered on discussing designing with lines and dots, in which he writes:

“Unlike the dot, which is bound to a center and is therefore static, the line is dynamic by nature. It can be continued indefinitely in either direction, it is bound neither to a form nor to a center… If the dot is an important element in structure and analysis, the line performs the important duty of construction. It joins, articulates, bears, supports, holds together and protects” – HOFMANN

UNI

VERSAL

Hofmann thus puts emphasis on designing with simple methods of lines and dots, an ideal that follows the International Typographic Movement’s principle of minimalist designs. Lines and dots both have important purposes and therefore can aid a designer in conveying an idea, but because they are universal they help the message also be universally understood. Hofmann also took the idea of creating universal designs one step further. To ensure that the piece of graphic design was understood by all, he taught his students not to rely on personal preconceived notions. Instead, he taught them to get rid of any previous knowledge they have about the topic behind what they are designing so that they can immerse themselves fully into each problem they are presented (Poynor). This allows for their creations to reflect the topic rather than personal ideas, creating both a universal and ageless piece.

ARMIN HOFMANN / UNIVERSAL DESIGN / 9

JOSEF GRID

MÜLLER-BROCKMANN

Josef Müller-Brockmann was a Swiss designer, teacher, and writer (International Typographic Style). He contributed to Swiss Style through his philosophies behind the use of a grid, which was first used in printed graphic design in the 40s (Müller-Brockmann 7). A grid, he believed, was extremely important in creating structure. To first explain this importance, in Brockmann’s book Grid Systems in Graphic Design, he writes:

“[A designer’s] work should thus be a contribution to general culture and itself form part of it. Constructive design which is capable of analysis and reproduction can influence and enhance the taste of a society and the way it conceives forms and colours. Design which is objective, committed to the common weal, well composed and refined constitutes the basis of democratic behavior” – MÜLLER-BROCKMANN

Design to Brockmann is a serious matter because if an object or a poster is designed well, it can have a positive impact on the world around it. To have a positive impact, though, the design cannot confuse viewers or else it only promotes chaos. Therefore, the design must be clear. This clarity allows the design to be accessible and easily understood by all, which, as Brockmann claims, promotes ‘democratic behavior’ in that the design’s objectiveness makes it fair to all viewers. This need for clarity and objectiveness is why Brockmann emphasizes the use of a grid. Grids break up a space into smaller units. This allows for multiple layouts aligned to the same grid to have a uniform look. It also increases legibility because spaces between the broken up units allow the content to be laid out evenly. For example, grids allow for photos to be spaced out with room for accompanying captions. Brockmann believed this forced designers to lay out the content with ‘honesty.’ In his book, he summarizes the four benefits of using a grid:

1 2 3 4

The argument becomes objective when laid out neutrally. Production is faster since material can be made systemically. The grid organizes the material. Grids enforce structure which creates legibility.

Due to these advantages, the grid gained a lot of popularity and Brockmann’s theories are still used today. As you can see even in the layout of this spread, the grid has been applied. Text and photos are lined up to create an organized layout. This also allows for even spacing, as on the left page, which helps keep text legible even at various angles. Additionally, in the list of grid benefits above, the grid of yellow lines clearly shows how aligning content can create more legible blocks of text.

JOSEF MÜLLER-BROCKMANN / GRID / 11

KARL

GERSTNER PROGRAMME

Painter and graphic designer Karl Gerstner was born in Basel, Switzerland in 1930. His work stands as a strong example of how Swiss Style was commonly applied to ‘programmes.’ A programme is a “form of systematic set of rules or parameters” which when applied to multiple works, can tie them together to support one organization or band (Kulba). These rules include parameters on which typeface to use, the particulars of how layouts will be broken up, color choices, etc. In a piece by contemporary designer Bryan Kulba about Gerstner’s work with programmes and logo-making, he writes:

“The strength of this programme is that it allows the designer to develop a number of wordmarks through the systematic combinations of a list of defined parameters. This keeps the designer from having to randomly think of type variations for developing iterations of a wordmark The programme is not a replacement for creativity, however... The programme allows the designer to expend their creative energy on the refinement of a good idea instead of a large number of ideas which may not address the problem.” – KULBA The programme then proves to be very useful in creating multi piece works that need to be tied together. This is particularly useful in creating corporate identities. A business, for example, can have a logo with a particular programme; then, when applying those rules to other graphic design elements, they can form a uniform corporate voice throughout the pieces. Gerstner’s work with programmes was supportive of Swiss Style in multiple ways. First, it builds off of Josef Müller-Brockmann’s work with grids. Grids and programmes maintain Swiss Style’s sense of clarity; when all pieces are made according to the same set of rules, it makes them more clear and objective. This, combined with Swiss Style sans serif fonts, created an especially clear and structured look. Due to these qualities, the style was commonly used for creating business identities. Many brand identities, like American Airlines whose programme includes the type choice of Helvetica, a Swiss Style favorite, were born then out of this time period. KARL GERSTNER / PROGRAMMES / 13

ERN USE The International Typographic Movement continues to be seen today, most notably in modern website design. The web was actually developed in Switzerland in the early 1990s, only a few decades after the birth of Swiss Style, in order to share research papers (Lupton 174). As both the use of the web and a designerâ&#x20AC;&#x2122;s ability to customize pages have grown, designers have returned to two notable principles of the International Typographic Movement. First is the continued emphasis on userfriendliness. While the movement emphasized clarity and legibility, website designers have also returned to this principle; all good website designers know that the key to good website is that it is easily understandable by the user. Without this, users become easily frustrated and will leave the site. To be user-friendly, users must be able to understand the site without much energy or confusion. This is done through logical arrangements, such as those preached by Swiss designers. The second influence, the strict adherence to the grid, also helps with this. The grid allows for web designers, similar to the earlier print designers, to design well-structure and balanced layouts. Not only does the grid provide a visual framework, but it also follows the Swiss idea of laying out data in a logical way. In this manner, Swiss Style has become a notable movement in both the splendor of the works created during the movement and also the principles that are continuing to guide designers today.

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GRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEM HIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT EMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNAT T INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONA RNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPO AL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC GRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEM HIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT EMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNAT T INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONA RNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPO AL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC GRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEM HIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT EMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNAT T INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONA RNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPO AL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC GRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEM HIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT EMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNAT T INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONA RNATIONAL TYPOGRAPHIC MOVWEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYP ONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAP GRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEM HIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT EMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNAT T INTERNATIONAL TYPOGRAPHIC MOVEMENT WORKS CITED Emil Ruder. Design Is History. Web. 10 Nov. 2013. International Typographic Style. Smeared Black Ink, 2008. Web. 10 Nov. 2013. Kulba, Bryan. Celebrating Karl Gerstner. Aisle.One, 2010. Web. 5 Dec. 2013. Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. New York: Princeton Architectural Press, 2010. Book. M端ller-Brockmann, Josef. Grid Systems in graphic design: A visual communication manual

for graphic designers, typographers and three dimensional designers. Berlin: Verlag

Gerd Hatje, 1988. Book.

Poynor, Rick. Armin Hofmann. AIGA, n.d. Web. 10 Nov. 2013. Ruder, Emil. Typographie. Switzerland: Arthur Niggli Ltd, 1967. Book. Terror, Diogo. Lessons From Swiss Style Graphic Design. Smashing Magazine, 2009. Web.

5 Dec. 2013. INTERNATIONAL TYPO AL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC GRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEM HIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT EMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNAT T INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONA RNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPO AL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC MOVEMENT INTERNATIONAL TYPOGRAPHIC