ALTITUDE *
CONTEMPORARY SWISS
GRAPHIC DESIGN
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Robert Klanten, Nicolas Bourquin, Claudia Mareis
KLANTEN, R, BOURQUIN, N & MAREIS C (2006) 'ALTITUDE: CONTEMPORARY SWISS GRAPHIC DESIGN', BERLIN, DIE GESTALTEN VERLAG
This book was a really useful find, by chance, it's useful because it's a great resource to see modern contemporary Swiss graphic design and see whether in a globalised world - the influence and teachings of classical Swiss graphic design still remain.
The book basically touches on and reaffirms that it still does, but also mentions that Swiss design is now more progressive and doesn't limit itself to the same rigid rules which is exactly the direction I want to head towards.
Each cycle of design, like cycles in cultures and fashion, are a progression of the previous cycle. Answering criticisms and catering for nuances in cultural change from the previous cycle and that's how a new International Style would be.
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Visually the book is also really interesting as it's target audience are German AND Swiss. Like classic Swiss design from the 50's the body copy switches between German, French and Dutch. Catering for three times as many cultures. I want to adopt this approach for a new International Style. Perhaps using the top 3 languages in the world?
Notes
Analysis
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Reaffirming Legrain's points about borders between countries and regions becoming hazy with ease of communication and travel. Culture's perhaps not as diffused as we think, but tastes and need definitely a lot more diffused. Referring to hybrid, culturally aware and connected cultures. Just like Legrain.
Switzerland, a region of neutrality throughout the war. A space for development of design to flourish and a progression of Bauhaus, Constructivism to process.
'The common denominator that especially unified Swiss Style, was the quest for a uniform national style.' - p75
'According to tradition, proficiency in typography and raster systems are two outstanding characteristics of Swiss graphics. Associated therewith is excellence in book design. That this is currently still the case becomes evident when viewing contemporary Swiss graphic design.' - p103
I feel although some designers took lower-case lettering too far, and it became too stylistic - lowercase lettering is more communicative and easier to read from far than uppercase lettering. Which is why it's used on traffic signage.
'Photography was the preferred medium of illustration, as was the propagation for the consistent use of lower case lettering.' - p103
Contradictions! Photography is definitely a more honest form of communication than illustration, but again this is perhaps too simplistic a view. Iconography and the concept of semiotic design is illustration but it's more instantly communicative than a photo would be.
Swiss contemporary designers already creating a progression from the past. You can't design the future without studying the past.
'Synthesis on preserved traditions'
Influence of Swiss design on American twist towards corporatism and advertising. Even a few designers such as Karl Gerstner and Muller Brockmann became senior advisors and designers for firms such as IBM.
Swiss graphic design essentials and icons such as Helvetica have changed the way we communicate information and wayfinding, in particular the airport. Which in turn has driven globalisation and blurring of geographical boundaries.
Design colleges and students increasingly doing internships and placements abroad. In itself showcasing the ease of travel and communication, just catch a plane there no problem. Also showcasing the cultural diffusion and importance starting to be given to having a more holistic worldwide view on design, which is less isolated.
CONTEMPORARY SWISS
GRAPHIC DESIGN
-
Robert Klanten, Nicolas Bourquin, Claudia Mareis
KLANTEN, R, BOURQUIN, N & MAREIS C (2006) 'ALTITUDE: CONTEMPORARY SWISS GRAPHIC DESIGN', BERLIN, DIE GESTALTEN VERLAG
This book was a really useful find, by chance, it's useful because it's a great resource to see modern contemporary Swiss graphic design and see whether in a globalised world - the influence and teachings of classical Swiss graphic design still remain.
The book basically touches on and reaffirms that it still does, but also mentions that Swiss design is now more progressive and doesn't limit itself to the same rigid rules which is exactly the direction I want to head towards.
Each cycle of design, like cycles in cultures and fashion, are a progression of the previous cycle. Answering criticisms and catering for nuances in cultural change from the previous cycle and that's how a new International Style would be.
-
Visually the book is also really interesting as it's target audience are German AND Swiss. Like classic Swiss design from the 50's the body copy switches between German, French and Dutch. Catering for three times as many cultures. I want to adopt this approach for a new International Style. Perhaps using the top 3 languages in the world?
Notes
Analysis
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Reaffirming Legrain's points about borders between countries and regions becoming hazy with ease of communication and travel. Culture's perhaps not as diffused as we think, but tastes and need definitely a lot more diffused. Referring to hybrid, culturally aware and connected cultures. Just like Legrain.
'The borders of the discipline graphic design are not only becoming increasingly hazy - they have already disappeared in many places. Thus new formations are permanently established from a hybrid and yet strongly tradition-linked practice that lies somewhere between artistic obstinacy and the mission to achieve high-impact (public) communication.' - p5
Switzerland, a region of neutrality throughout the war. A space for development of design to flourish and a progression of Bauhaus, Constructivism to process.
'Switzerland, contrary to most European countries, was spared the horrors of World War II, it was possible here, more than anywhere else, for a fertile environment to develop, that could continue the progressive-optimistic ideals of the Bauhaus on one hand, and develop an internationally influenced design dialog on the other.' - p75Immigration and change in culture played a pivotal part - in particular German.
Emigrants who were active in the fields of art, architecture and science, brought their ideology, their wealth of experience to Switzerland with them and with it, inspired the cultural and intellectual discourse.' - p75
'The common denominator that especially unified Swiss Style, was the quest for a uniform national style.' - p75
'According to tradition, proficiency in typography and raster systems are two outstanding characteristics of Swiss graphics. Associated therewith is excellence in book design. That this is currently still the case becomes evident when viewing contemporary Swiss graphic design.' - p103
I feel although some designers took lower-case lettering too far, and it became too stylistic - lowercase lettering is more communicative and easier to read from far than uppercase lettering. Which is why it's used on traffic signage.
'Photography was the preferred medium of illustration, as was the propagation for the consistent use of lower case lettering.' - p103
Contradictions! Photography is definitely a more honest form of communication than illustration, but again this is perhaps too simplistic a view. Iconography and the concept of semiotic design is illustration but it's more instantly communicative than a photo would be.
'Tschichold's influence on Swiss book design is remembered with the Jan Tschichold Prize. Exceptional achievements within the field of book design are honoured with the prize.' - p104
'Traditional Swiss book design meets up with contemporary experimental approaches in typography, layout design and visual conception. Thereby, skilfully produced disturbances and breaches result - the new is created from a synthesis of preserved traditions and a conscious breach of them.' - p104
Swiss contemporary designers already creating a progression from the past. You can't design the future without studying the past.
'Synthesis on preserved traditions'
'Swiss graphics left a lasting impression, with its functional aesthetic and its severely structured attributes, especially in America. Paul Rand is considered the most popular mediator between Swiss functionality and American pragmatism.' - p207
Influence of Swiss design on American twist towards corporatism and advertising. Even a few designers such as Karl Gerstner and Muller Brockmann became senior advisors and designers for firms such as IBM.
'Helvetica is considered to be the most famous Swiss graphic export. It was implemented especially effectively for orientation systems in public areas. It was a trend setting element of signage in both Schiphol Airport in Amsterdam, as well as in Zurich Airport.' - p207
Swiss graphic design essentials and icons such as Helvetica have changed the way we communicate information and wayfinding, in particular the airport. Which in turn has driven globalisation and blurring of geographical boundaries.
'A semester of study and internship abroad are almost standard for a good educational curriculum these days. These are followed by artistic travel years in international agencies and ateliers - preferably in Amsterdam, Berlin, Paris, London or Tokyo. ' - p207
Design colleges and students increasingly doing internships and placements abroad. In itself showcasing the ease of travel and communication, just catch a plane there no problem. Also showcasing the cultural diffusion and importance starting to be given to having a more holistic worldwide view on design, which is less isolated.
Globalisation. Distance between locations starting to become irrelevant with air travel, email and skype. Instant communication, instant collaboration.
Borders blurring, cultures becoming more standardised, but local particularities still remain (for now), the future still remains unclear. Needs and objectives of cultures are diffusing, more than the regions themselves.
'The world is turning into a global multicultural atelier (studio) and the former stationary employees have become active creative nomads.
"The distance between locations seems to have become irrelevant, it doesn't matter if a server is in the next room or on another continent", says Lukas Marti,
"The different (cultural) influences are what enriches the design process" - p208
Standardisation but also diversity of culture?
'Not only does the global exchange promote the diversity of culture, but also simultaneously promotes its standardisation. Social and historical identites merge and assimilate.' - p208
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