Swiss Style
Issue II
TYPE MA
1950
Issue II TYPE MAG
Emerging from Switzerland and Germany in the 1950s, the Swiss International Style sourced its inspiration from the many movements before it. The vivid colour, diagonal lines and geometric shapes that defined De Stijl, Bauhaus and Constructivism, inspired the early pioneers of the Swiss Style.
The gri
The Swiss Style was defined by its asymmetrical layout within a carefully constructed mathematical grid; its use of objective copy and imagery that presented information in a concise and factual manner; the preference of photography over illustration; and the use of sans serif typography such as Helvetica and Akzidenz-Grotesk. Emil Ruder, a Swiss typographer and graphic designer of this era once wrote that “typography has one plain duty before it and that is to convey information in writing. No argument or consideration can absolve typography from this duty.”
The early pioneers of Swiss Style recognised the more practical and socially beneficial applications of their design profession. St subjective expressionism of previous movements, they believed in a much more simplistic universal and
Ernst Keller is regarded as “the father of the Swiss Style.” As a teacher at Kunstgewerbeschule Zürich (University of the Arts), K focused on the use of grid based systems for layout. It was here he spawned the idea that a design should emerge from
One of the most recognised figures of the Swiss Style movement was Josef Müller-Brockmann. Having studied under Ernst Ke Style by the 1950s. Müller-Brockmann is also credited with spreading the Swiss Style internationally with his trilingual journal Ne emphasis on the use of the grid system in his work. “The grid system is an aid, not a guarantee. It permits a number of possible use
There is no denying the fact that the Swiss Style was one of the greatest influencers of modern day graphic design. It’s revolutio around the world to this very day. It is important to note however, that although the grid can be an incredibly useful tool for designe
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1950s Swiss Style
id system
is an aid,
not a gua rantee.
teering away from the scientific approach towards design.
Keller developed his own course in design and typography that m its content, placing a newfound emphasis on the importance of typography.
eller in Zurich, he established himself as the leading practitioner and theorist of Swiss eue Grafik (New Graphic Design). Much like Keller, Muller-Brockmann placed great es 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.�
onary to typography and clever use of the grid system is used and taught by designers ers, it is often necessary to diregard the cofines of the grid and let your design fly free.
Tewes, O. 2017, Flying from Switzerland, Available: https://unsplash.com/search/swiss?photo=g-ofB0rb1Uw
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