Grafik
Magazine Issue 2 July 2017
Josef
MĂźller-
Brockman A Key Figure in the Creation of the International Typographic Style
-Josef M Ăźller-Brockmann
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I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organisation of the surface by means of the grid, a knowledge of the rules that govern legibility (line length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic matter.
Josef Müller-Brockmann (1914-1996) Josef Müller-Brockmann (1914-1996) is a highly renowned figure known for his significant contributions to the birth of the Swiss International Style. He is most widely recognised for his distinctive grid-based designs, hierarchical structures and clean, rational layouts.
Josef Müller-Brockmann was born in Switzerland and studied architecture, design and art history at the University of Zurich before working as an intern for prestigious designer, Walter Diggelamn. It was at this point Josef Müller-Brockmann found himself really drawn to the aesthetics of 1920s art movements such as; Bauhaus, De Stijl and Constructivism. Key characteristics of such design periods exhibited works which were simple, rational and powerful.
Josef Müller-Brockmann was mostly active in his career after the Second World War. During this period, many countries were recovering from the devastations the war had brought which resulted in a change in perceptions and a break away from conventions. This catalysed a change in design and the conventional forms of layouts. It was during this time that Josef Müller-Brockmann led the Zurich School of Arts and Crafts whereby he alongside many other prominent designers such as Armin Hofmann began influencing a distinct type of design which became known as the International Typographic Style.
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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. -Josef Muller-Brockmann
During the 1950s, Josef MüllerBrockmann ’s style was focused on using typography and imagery in a clean, rational and functional way to easily communicate messages internationally. The visual elements in each of Müller-Brockmann’s always had a place and purpose. Perhaps Müller-Brockmann’s most notable work were the posters designed for Zurich Town Hall which acted as advertisements for the performances which were occurring at the venue. The shapes and typography are very rational, clean and clear in nature. They were designed to work in harmony to generate a sophisticated yet clear way of communicating to large audiences on an international scale.
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It was also during the period of the 1950s that the birth of san serif fonts, such as Helvetica were brought about. In many of Müller-Brockmann pieces, the designer used san serif fonts and often played around with varying font sizes to generate a hierarchy designed to direct the readers eye clearly to the point of the message. The use of san serif fonts, asymmetrical structures and clean, rational designs, often free from illustrations are core features of Müller-Brockmann’s work, which inspired the birth of the International Typographic Style.
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The Swiss designer eventually developed a grid system which consisted of a number of equally spaced horizontal and vertical lines that functioned as a way to strategically place typography and imagery. The use of the grid became extremely inspiring to many subsequent designers in Europe and eventually in the United States as it was a way to generate clean, legible designs with ease.