Graphik magazine
1950s
1
Typography
Swiss Style Design
Helvetica
Armin Hofmann + Josef MĂźller-Brockmann + Adrian Frutiger
Emil Ruder + Ernst Keller + Paul Rand + Max Bill + Otl Aicher + Richard Paul Lohse
Sans-Serif + Univers + Akzidenz-Grotesk The Grid System + The International Typographic Style
Structured + Legible + Strokes + Asymmetrical + Crisp + Geometric
Geometric + Mathematical + Clean + Switzerland + Zurich Readability + Objectivity
Cleanliness + Simplicity Photography + Graphics
Red + Black + White Contrast + Scale + Hierarchy
Balance + Shape + Form
Communication
Exploring the International Typographic Style of the 1950’s
In the 1950’s Swiss Style, also known as International Typographic Style, became a prominent and influential design movement. It is considered by some as the most important graphic design style of the twentieth century, due to its huge impact on the entire design community, as well as its longevity and practical range of applications it presents. While it dominated design in the 1950s, the style continues to be used today. Swiss Style can be defined by its use of clear and objective layouts, where readability is the most important factor. Designer’s aimed to present information in simple and factual ways, without the exaggeration or propaganda which had become so common at the time. The style’s biggest traits were its asymmetrical layouts built around mathematically constructed grids, the use of sans-serif typefaces that were set flush-left and ragged-right, and use of photography. While the style became prominent in the 1950s, its development can be seen as early as the late 1910s, with Ernst Keller’s teachings in Zurich, Switzerland. Over the next three decades many important designers would contribute to the development of the style, such as Max Bill who began refining his work while studying at the Dessau Bauhaus from 1927 to 1929. He created a concept for a universal style based on mathematical principles, and began creating works featuring Swiss Style’s iconic sans-serif typefaces. He went on to study in Zurich, and in the late 1940’s began to create works which can now be seen as early examples of the Swiss Style. Other important designers for the movement were Armin Hofmann and Emil Ruder, who both taught their versions of Swiss at the Basel School of Design.
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Simplicity is not the goal. It is the by-product of a good idea and modest expectations. - Paul Rand
s the ’ 0 th 195 r i b of
s s i w S le y t S v l he
a c i et
1956 Zürcher Maler by Emil Ruder
1959 Olma Cow by Josef Müller-Brockmann
1959 Giselle Ballet by Armin Hofmann
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Between 1932 and 1934 Josef Müller-Brockmann also studied under Ernst Keller in Zurich, and he went on to become one of the most prominent figures of the style. In 1936 he opened his own studio in the city, and used his influences of Constructivism, De Stijl, Suprematism and the Bauhaus to develop his particular style. Specializing in posters and exhibition design, Müller-Brockmann soon became the biggest advocate for using a universal grid system in design, and even released a textbook featuring in-depth guides on how to follow his methods. His work is now regarded as key examples of Swiss Style, and his influence quickly spread in design communities in both Europe and North America. Sans-serif typefaces are one of the biggest factors of Swiss Style design, with their clean shapes and modern look, which worked perfectly for the style. In the early days most designers used Akzidenz-Grotesk, a 19th century typeface that appealed to most as the best typeface for readability. However, in 1957 Adrian Frutiger, a Swiss typeface designer, developed a new sans-serif typeface named Univers. This was considered the world’s first megafamily typeface, as it comprised of many different variations and weights of the typeface. This was quickly adopted by Swiss designers as a prominent typeface for the movement.
Then, in 1960 Eduard Hoffmann and Max Miedinger released an updated version of Akzidenz-Grotesk, and named it Helvetica, in reference to the Latin name for Switzerland (Confeoderatio Helvetica). This typeface became the most popular sans-serif typeface, not just in Swiss design, but in the world. Helvetica continues to be used in design today, and can be seen pratically anywhere in the world.
Readability is the most important factor. 4 - Graphik Magazine