Armin Hofmann: Bringing Order Back to Design by Sarah Sullivan

By Sarah Sullivan

“I intend my posters to serve as

societies in particular, the dange excess always exists‌ the idea

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therefore, takes on new meaning

reminders that, in affluent

er of a tendency towards

of limitation or restriction,

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Armin Hofmann Swiss Designer

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From left to right: Die Gute Form, Promotional Poster, 1958 Gewerbe Museum Basel, Lithograph, 1961 Giselle, Basler Freilichtspiele, Photolithograph, 1959 Circle Exercise, page from The Graphic Design Manual, 1956

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rmin Hofmann is one of those people who will forever leave their mark on history. Born in 1920 in Switzerland, Hofmann was a leading figure in the Swiss, or International Design movement, and both his designs and ideology still impact designers today.

After World War II, people’s lives were in chaos.

The pointless death and destruction left many desiring some sort of order in their lives. Swiss Design was born out of this chaos, as designers began to really meticulously and consciously organize their designs. The order found within Swiss Design is a reflection what artists desired of their own lives.

Hofmann was at the epicenter of this movement, living and studying in the movement’s namesake, Switzerland. Hofmann attended the School of Arts and Crafts in Zurich (now the Zurich School of Design), and was a lithographer for some time at Basel and Bern. It was there that he would begin find his signature design aesthetic.

Above: The Graphic Design Manual: Principles and Practices, by Armin Hofmann, 1965 Right: Rectangle Exercise, page from The Graphic Design Manual, 1956

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“Ess muess klinge” It has to be sonorous

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favorite phrase of Hofmann’s was “Ess muess klinge”, or “it has to be sonorus”2. He meant that each piece he made had to have its own rhythm, a beautiful sense of harmony that would resonate with the viewer. No matter what it was, from book to poster, each of his pieces was carefully crafted with only the necessary parts.

The most important part of his work is his incredibly precise, minimalistic, yet complex designs. He brought his no-nonsense aesthetic with him when, in 1947, he started teaching at the Basel School of Art, where he garnered a reputation for being a professor who would turn your world upside down.

He taught his design students how to critically approach work, removing unnecessary components, until they were left with designs that were concise yet complex. In 1968, he started the school’s first Advanced Graphic Design class, and in 1973 he became the head of the department. His teachings impacted design and designers for years to come, and his students included Kenneth Hiebert, April Greiman, and Dan Friedman, all of whom would later become renowned designers.

Left: Shape Exercise from The Graphic Design Manual, 1965 Above: Letter “I” Exercise from The Graphic Design Manual, 1965

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ofmann often worked in black and white, as he saw the excess of color, common after World War II, to be a distraction to the design of a piece. He said, “I also intend my posters to serve as reminders that, in affluent societies in particular, the danger of a tendency towards excess always exists… the idea of limitation or restriction, therefore, takes on new meaning.” Hofmann, who was an expert lithographer, enjoyed combining photographs and shapes in his pieces, which he would combine with text to create a visual communication between the message and the design. Both the shapes and the photographs were extremely simple, often black and white, and usually abstract so the shapes or image would contribute, rather than distract from the most important part: the typography. Hofmann feels that “combining design and lettering epitomizes the special world of harmonics in which the graphic designer works.”3 In 1965, Hofmann published his book The Graphic Design Manual: Principles and Practice, which was a culmination of his philosophies and strategies. Hofmann broke down his methodology, with an emphasis on shapes, and using shapes as design elements. Sections focus on using shapes and lines in combination with using letters as forms, and include both examples and practice exercises4. The book itself is black and white, including minimal text compared to the amount of images. The text is short and simple: a few short pages of introduction, and small descriptions at the beginning of each chapter. Even his book is simple and to the point, while still being complex and communicating his ideas.

From left to right: Carmina Burana, Photolithograph, 1993 Stadt Theater Basel, Offset Lithograph, 1963 Tell Poster, Photolithograph, 1963

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Above: Basler Theater-1968/9, Offset Lithograph, 1968 125 Jahre Stadt Theater Basel, Lithograph, 1958 Left: Das Holz als Bau Stoff, Linocut, 1952

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“A good poster can take it”

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ofmann’s design ideologies were transcendent of the time period; the Swiss Design style that he popularized is still widely influential today. He simply understood how to design.

He trusted his medium, images, and type to do their job conveying his message. His phrase, “a good poster can take it”5 was a testament to how he worked; trusting his designs to hold up, no matter what. His taught in the same way, believing student work should be strong enough to need no defense. His simple yet powerful design is something designers strive for.

The sheer amount of work that Hofmann created is remarkable, from publishing his own book to the scores of posters he created for institutions and events around the world. He is an AIGA Medalist, recognized for his outstanding achievements in the design world. His design aesthetic, however, was more than an art form; it was a reflection and response to the chaotic world he was living in.

When looking at his work in this way, Hofmann’s impact is truly transcendent.

From left to right: Herman Miller Collection, Mobel unserer Zeit, Lithograph 1962 Stadttheater Basel, Photolithograph, 1965 Back Cover: Plakate aus der Sammlung des Gewerbe museums Basel, Linocut, 1964

Notes 1. Elsa Longhauser, The Basel School of Design and Its Philosophy: The Armin Hofmann Years, 1946-1986 (Philadelphia: Goldie Paley Gallery, 1986), 6.

2. Rick Poynor, “Armin Hofmann”, AIGA, accessed March 23, 2015, http:// www.aiga.org/medalist-arminhofmann/ 3. Armin Hofmann, Graphic Design Manual: Principles and Practice (New York: Van Nostrand Reinhold, 1965), 17.

4. Ibid.

5. Aswin Sadha, “Thinking Armin Hofmann”, Thinking Form, accessed March 24, 2015, http://thinkingform.com/2011/06/29/thinking-arminhofmann-06-29-2011/ Bibliography 1. Hofmann, Armin. Graphic Design Manual: Principles and Practice. New York: Van Nostrand Reinhold, 1965.

2. Longhauser, Elsa. The Basel School of Design and Its Philosophy: The Armin Hofmann Years. Philadelphia: Goldie Paley Gallery, 1986.

3. Poynor, Rick. “Armin Hofmann”. AIGA. Accessed March 23, 2015. http:// www.aiga.org/medalist-arminhofmann/ 4. Sadha, Aswin. “Thinking Hofmann”. Thinking Form. Accessed March 24, 2015. http://thinkingform.com/2011/06/29/thinking-arminhofmann-06-29-2011/

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Designed and written by Sarah Sullivan Composed in Adobe InDesign CC 2014 using Helvetica, Helvetica Bold, Helvetica Light, and Helvetica Light Oblique. Typefaces designed by Max Miedinger in 1957.

Printed from a Toshiba ColorMFP - X4 USA Copyright © 2015 Sarah Sullivan, Portland, Maine, Maine College of Art