Published by Universe Publishing 167 Cherry Street # 261 Milford, Connecticut Phone: +1-212-627-9090 Fax: +1-212-627-9511 www.universepublishingcompany.com Copyright Š Universe 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without permission of the copyright holder. While every effort has been made to contact owners of copyright material produced in this book, we have not always been successful. For copyright query, please contact the publisher. 10 9 8 7 6 5 4 3 2 1 ISBN: 978-0-1234-5678-6 Printed in the U.S.A.
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CONTENTS Background Introduction
Design Aesthetic 08
Artists Joseph Muller Armin Hoffman Emil Ruder
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Graphic Design Typography Modular Grid
12 14 20
Conclusion 26 28 30
Mike Joyce Swiss Style Today
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01. 6
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The History Behind SWISS INTERNATIONAL GRAPHIC DESIGN The swiss international timeline features many inlfuential desiner, amongst them, Josef Muller Brockmann, Armin Hofmann and Emil Ruder is probably amonst the .most inlfuential in that era
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Introduction Swiss style has played a huge role in the development of modern design. Since its establishment around the 1940s', the Swiss style has emphasized cleanliness, readability, and objectivity. Typically, Swiss style features sans-serif typefaces such as Akzidenz-Grotesk, Helvetica,
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or Univers, asymmetrical compositions, flush left/ right text, mathematical grid systems, geometric components and flat areas of color. The philosophy is simplre: less is more. Swiss style demonstrates how a reductive design language can effectively convey a
universal and timeless message Using miniml designs can make the reader focus more on significant details. The fewer the distractions, the better. This progressive, radical movement in graphic design is not concerned with the
graphic design in Switzerland, but rather with the new style that had been proposed, attacked and defended in the 1920s in Switzerland. Keen attention to detail, precision, craft skills, system of education and technical training, a high standard of printing as well as a
clear refined and inventive lettering and typoraphy laid out a foundation for a new movement that has been exported worldwide in 1960s to become an international style. Emerging from the modernist and constructivist ideals, the Swiss Style can be defined as an authentic
pursue for simplicity – the beauty in the underlines of a purpose, not beauty as a purpose in itself. The principle “form follows function� became a battle-cry of Modernist architects after the 1930s. As a consequence of this principle, most of the Swiss Style craft is devoted
to the minimal elements of style such as typography and content layout rather than on textures and illustrations. ven a quick study of classic Swiss style works reveals a strong attention of graphic designers to uniform design elements and strong
geometric shapes. Graphic artists have experimented with abstract geometric patterns, uncomon color combinations, text manipulations and striking abstract visuals that were used to clearly convey their purpose in a very remarkable way of doing so.
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Design Aesthetic The swiss international uses minimal decoration and focuses more on the typographical aspects of the layout. They strictly follows the grid system.
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GRAPHIC DESIGN
Also known as International Style, the Swiss Style does not simply describe a style of graphic design made in Switzerland. It became famous through the art of very talented Swiss graphic designers, but it emerged in Russia, Germany and Netherlands in the 1920’s.
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TYPOGRAPHY Typography is the core element of visual communication. It is the most direct and easiest route for the message to be delivered. Typefaces should be presented in the most simple, expressive, and universally understood manner. For Swiss style artiss, the usages of letters in the simplest way possible is the best way to do it. Simplicity was held in high regards because it successfully created a better understanding on a universal level.
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The HelveticaŽ typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well
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Helvetica Light Helvetica Regular Helvetica Oblique Helvetica Light Obliqued Helvetica Bold Helvetica Bold Obliqued Helvetica Black Helvetica Black Obliqued Helvetica Condensed
Helvetica was published in 1957 and designed by Max Miedinger in Switzerland. It's now a widely used sans-serif font, but its original purpose was to be a competitor to Akzidenz. It was previously known as Neue Haas Grostesk but renamed Helvetica in 1960 so it would be more
marketable internationally. It was designed to fit a consistent programme of weights and weidths, meaning it lost much of its strength. Its uniform, upright character makes it similar to transitional serif letters. One of Helvetica's more remarkable feature is its large x-height, which is even larger than that of Univers, giving the letterforms increased volume, allowing for better legibility than many sans-serifs.
Helvetica Condensed Oblique Helvetica Extra Compressed Helvetica Ultra Compressed
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UNIVERS Univers® typeface family is one of the most prolific grotesque sans-serif typefaces of the century. Like Helvetica®, Univers is based on 1898‘s Akzidenz-Grotesk. However, Univers is unique in that the design lacks superfluous features of any type, creating a design that is versatile and distinctive without being obstrusive.
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Univers is a typeface created by Adrian Frutiger. In 1954, it was introduced by Emil Ruder to be used on Neue Grafik, a magazine created by Josef Muller-Brockmann in 1959. Beforehand, Josef and his colleges exclusively used Akzidenz on their publication. Univers is very universal,
where the typeface consists of 44 faces, 16 different weights, widths and position combinations. It also works well as both body copy and display. Frutiger imposed strict discipline across all elements of the series, from light to dark, extra condensed to extended, a concordance
of design that was possible in the foundry type and photocomposition fonts. Any version may be mixed within a word with any other. It may be argued that the design of the most popular central series is limited by strict conformity to little used extremes. If Helvetica gives us
the strongest central designs at some sacrifice in uniformity across the series, Univers gives us a uniform series by disciplining the central designs.
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The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice. �
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The reduction of the number of visual elements used and their incorporation in a grid system creates a sense of compact planning, intelligibility and clarity, and suggests orderliness of design. This orderliness lends credibility to the information and creates clear hierarchy.
Information presented with clear and logically set out titles, subtitles, text, illustrations and captions will not only be read more quickly and easily, but the information will also be easier to be understood and more memorable as well. This is a scientifically proved fact. According to Muller-Brockmann, the grid typically generates ease in constructing text and illustrative material systematically and logically, organizing text and illustrations in a compact arrangement with its own rhythm and composition.
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A modular grid is a grid which has consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right.
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What is Modular Grids? Modular grids are good for complex projects that require more control than a column grid can offer. Image galleries and shopping carts are likely candidates for modular grids. Modular grids lend themselves to the design of
tabular information such as charts, forms, navigation, schedules, and of course tables of data. They can help standardize the space in tables and help integrate tables with any surrounding text or images. Each module in the grid can define a small chunk
When is it Used? Margin proportions will ideally be considered at the same time as module and gutter proportions as each relates to and affects the others. Large publishing systems that present information across a variety of formats often use
of information or adjacent modules can be combined to form fields or spatial zones each designated to hold a specific type of information. Smaller modules allow for a more flexible grid with greater precision, but they can become confusing to work with. Imagine for example
modular grids to keep design proportions consistent. This can help a company maintain brand consistency. Aside from their practical uses, modular grids have developed an aesthetic image. Between 1950 and 1980 they became associated with an ideal social and political order that has its roots in rationalism.
setting up a modular grid in which each modules is 1px by 1px. Lot’s of flexibility, but not much practical use. Modules can be either horizontal or vertical and the proportion of a module can be determined in a variety of ways.
The Bauhaus and Swiss style celebrate objectivity, order, and minimalism and turned to modular grids to maintain clarity in form. his order and clarity can be used to create additional meaning. For example it often conveys a technical or urban feeling and naturally communicates mathematical information.
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03. 24
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The swiss international timeline features many inlfuential desiner, amongst them, Josef Muller Brockmann, Armin Hofmann and Emil Ruder is probably amonst the most .inlfuential in that era
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Brockmann was born and raised in Switzerland and by the age of 43 he became a teacher at the Zurich school of arts and crafts.
Josef M端ller-Brockmann the father of modular grid
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As with most graphic designers that can be classified as part of the Swiss International Style, Joseph M端ller-Brockmann was influenced by the ideas of several different design and art movements including Constructivism, De Stijl, Suprematism and the Bauhaus
Perhaps his most decisive work was done for the Zurich Town Hall as poster advertisements for its theater productions. He published several books, includingThe Graphic Artist and His Problems and Grid Systems in Graphic Design. These books provide an in-depth analysis of his work practices and
philosophies, and provide an excellent foundation for young graphic designers wishing to learn more about the profession. He spent most of his life working and teaching, even into the early 1990s when he toured the US and Canada speaking about his work. He died in Zurich in 1996.
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By the age of 27 Armin Hofmann had already completed an apprenticeship in lithography and had begun teaching typography at the Basel School of Design.
Armin Hofmann Legendary Swiss graphic designer and educator
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His colleagues and students were integral in adding to work and theories that surrounded the Swiss International Style. The style of design they created had a goal of communication above all else, practiced new techniques of photo-typesetting, photomontage and experimental
composition and heavily favored sans-serif typography. He taught for several years at the Basel School of Design and he was not there long before he replaced Emil Ruder as the head of the school. The Swiss International Style, and
Hofmann, thought that one of the most efficient forms of communications was the poster and Hofmann spent much of his career designing posters, in particularly for the Basel Stadt Theater. Just as Emil Ruder and Joseph M端llerBrockmann did, Hofmann wrote a book outlining his
philosophies and practices. His Graphic Design Manual was, and still is, a reference book for all graphic designers.
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Emil Ruder was a typographer and graphic designer who, born in Switzerland in 1914, helped Armin Hofmann form the Basel School of Design.
Emil Ruder
A major contributor to Swiss Style Design
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Ruder played a key role in the development of graphic design in the 1940s and 50s.
Emil Ruder was a typographer and graphic designer who, born in Switzerland in 1914, helped Armin Hofmann form the Basel School of Design and establish the style of design known as Swiss Design. He taught that, above all, typography's purpose was to communicate ideas through
writing. He placed a heavy importance on sans-serif typefaces and his work is both clear and concise, especially his typography. Like most designers classified as part of the Swiss Design movement he favored asymmetrical compositions.
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Swiss Style TODAY Swiss international Design Style is widely implemented today. It looks clean and professional, thus very approriate for coorporate design
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Mike Joyce
Mike’s solo and group exhibitions have opened at home and abroad. He has also been a judge for advertising, design, and interactive award shows for the Art Directors Club, the Alex Steinweiss Awards, and co-chaired Young Guns 4.
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In 2012, he launched a site called Swissted, a personal project combining his love of Swiss graphic design and punk rock by redesigning old show flyers into hundreds of International Typographic Style posters. The website has since amassed over 800,000 visits, spawning editorial features, and international
Mike Joyce was born in the summer of 1972 in New York. Thirty years later Mike founded Stereotype Design in New York City, a studio specializing in wide-ranging projects for the entertain ment industry.
The Stooges Poster
New York Dolls Poster
Talking Heads Poster
Gang Green poster
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Swiss Style TODAY
The International Style was an important style in terms of its place in typographical design history and its influence today. The method that designers such as Josef Muller-Brockmann and Max Bill chose to fix design problems is the basis for modern Graphic Design theory. The Swiss Style was created in an era of scientific advances, social strife and war. Today, the graphic design theories can be found everywhere, specifically in the world of mobile devices, web accessibility and print.
Corporate Design Identity
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Swiss Style Web Design The Swiss style is still important today, especially in the arena of corporate design. The focus on legibility and neatness are still important aspect of logo design, government and corporate. Swiss style of design first seemed to be cold and formulaic, but now it is thought otherwise, especially in this era. The idea that designers are not only artists but should also be aware of there social responsibility, and also problem solvers trying to fix problems associated with technology, accessibility and readability are just as relevant.
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REFRENCE: Diogo Terror. (2009). Lessons from Swiss Style Graphic Design. Retrieved from: http://www.smashingmagazine.com/2009/07/17/ lessons-from-swiss-style-graphic-design/ Dominiquedesigns,. The International Style. Retrieved from: https://dominiquedesigns.wordpress.com/tag/swiss-style/ Graphic Mania Editorial. (2011). Understanding Swiss Style Graphic Design. Retrieved from: http://www.graphicmania.net/ understanding-swiss-style-graphic-design/ Lupton, Ellen. (2009). Thinking with Type. Retrieved from: http://www.thinkingwithtype.com/contents/grid/ Meggs, P., & Purvis, A. (2006). Meggs' History of Graphic Design. Hoboken, N.J.: J. Wiley & Sons. Purcell, Kerry,. Joseph Muller-Brockmann. Retrieved from: http://www.designishistory.com/1940/joseph-mueller-brockmann/ Smeard Black Ink. (2008). International Typographic Style. Retrieved from: http://smearedblackink.com/swiss_style_timeline/ Swisstype. (2009). History. Retrieved from: https://swisstype.wordpress.com/
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