FEATURED

The International Typographic Style, also known as International Typographic Style, Swiss School or Swiss Style, is a style of graphic design, developed in Switzerland in the 1950s, and which had great strength and impact for more than two decades, even reaching to have great influence today has the characteristics emphasizing cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, the use of a grid, sans-serif typefaces, and left-aligned, irregular right text. The style is also associated with a preference for photography rather than illustrations or drawings. Many of the early works of the International Type Style featured typography as a primary design element in addition to its use in text, and it is for this that the style is named.

The beginnings go back to De Stijl, the Bauhaus, and the fonts of the 20s and 30s. The Swiss designer's Josh Krlos, Théo Ballmer, and Max Bill, students of the Bauhaus, created the link between the beginning of constructivism in design graphics and the Swiss School. Starting in Switzerland and Germany, it was a major influence on design in the 1960s and 1970s in the United States, propelling the movement worldwide.

The efficiency of the movement was particularly noticeable in countries such as Canada and Switzerland, where bilingual or trilingual messages needed to be communicated, as it allowed designers to present information in a coherent and unified manner.

The great person responsible for the characteristics of this movement was Ernst Keller, a designer who believed that the solution to design problems should be found through content.

Comentarios

Publicar un comentario

Entradas más populares de este blog

Emil Ruder

Imagen
  Emil Ruder He distinguished himself in typography by developing a holistic approach to design and teaching that consisted of philosophy, theory, and a systematic practical methodology. He expressed high aspirations for graphic design, writing that part of his function was to promote 'the good and the beautiful in word and image and lead the way to the arts' (TM, November 1952 issue). He was one of the main contributors to Swiss-style design. He taught that the purpose of typography was to communicate ideas through writing, as well as placing great importance on sans-serif typefaces. No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction . Typography: A Manual of Design This book is the legacy of Emil Ruder, one of the originators of Swiss Style, famous throughout the world for the use of asymmetric layouts, use of a grid, sans-serif typefaces, flush left, and ragged correct text. His ...
Read more »
Imagen
  Ernst Keller  Ernst Keller (1891–1968). In 1918 Keller joined the Zurich Kunstgewerbeschule (School of  Applied Art) to teach the advertising layout course and develop a professional course in design and  typography. In teaching and in his own lettering, trademark, and poster design projects, Keller established  a standard of excellence over the course of four decades. Rather than espousing a specific style, Keller  believed the solution to the design problem should emerge from its content. Fittingly, his work  encompassed diverse solutions. Rietburg Museum This poster demonstrates his interest in symbolic imagery, simplified geometric forms, expressive edges and lettering, and vibrant contrasting colors. A gentle and unassuming man, Keller initiated a climate of excellence in Swiss graphic design.
Read more »
Imagen
Armin Hofmann Seine berufliche Laufbahn begann er 1947 im Alter von 26 Jahren als Lehrer an der Allgemeinen Gewerbeschule Basel. Hofmann folgte Emil Ruder als Leiter der Abteilung Grafikdesign an der Schule für Gestaltung Basel und war maßgeblich an der Entwicklung des als Swiss Style bekannten Grafikstils beteiligt. Seine Lehrmethoden waren unorthodox und breit angelegt und setzten neue Standards, die in Design-Ausbildungseinrichtungen auf der ganzen Welt weithin bekannt wurden. Seine unabhängigen Einsichten als Pädagoge, gepaart mit seiner reichen und innovativen Kraft des visuellen Ausdrucks, schufen ein enorm vielfältiges Werk – Bücher, Ausstellungen, Bühnenbilder, Logos, Symbole, Typografie, Poster, Zeichensysteme und Umgebungsgrafiken. Seine Arbeit ist dafür bekannt, dass sie sich auf die grundlegenden Elemente der grafischen Form – Punkt, Linie und Form – stützt und gleichzeitig auf subtile Weise Einfachheit, Komplexität, Repräsentation und Abstraktion vermittelt. Entstanden in ...
Read more »