Notes +
Quotes +
Analysis
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Developed in Switzerland in the 50's
Emphasises cleanliness, objectivity and readability. Highly typographic
Apparent hallmarks of the style are asymmetric layouts, heavy use of a grid, sans-serif typefaces such as Akzidenz Grotesk.
Flush left, ragged right text.
Swiss style sometimes referred to as the International Typographic style. maybe implying it's influence across Europe, and possibly the world.
Ernst Keller + Alfred Willimann - The driving force behind training in graphic design in Switzerland and taught a course Muller-Brockmann attended. Focused on arts and crafts, rather than simply design - similar to the Bauhaus.
MB (Muller-Brockmann) attended the Zurich school from 1932 to 1934
Williman taught typography class set up by Hans Finler in 1932 and had close ties with the Bauhaus
Emphasis on typography. Do many schools in Switzerland still focus on typography as much? Ask + Question.
Zurich School of Arts and Crafts / Now known as Zurich Museum and School of Design.
Research into the Zurich school and what specific teaching and training helped play a part in the swiss design revolution and nationally recognised style.
MB became a member of the SWISS WERKBUND n 1937.
In 1939 MB joined up with newly established ASSOCIATION OF SWISS GRAPHIC DESIGNERS
Right around the outbreak of WWII - did these collectives remain during/after the war?
SWISS WERKBUND - "An association of architects and designers from a variety of fields, formed to foster design that serves both aesthetic and social ends."
1930s - great deal of confusion and social, political and culturual issues and contradictions at hand in Swiss history.
Political and social factors being at odds with a new wave of Swiss rebellion and forward thinking - basically modernity.
Stale culture motivating for a minorty to pursue innovation. What were these old backwards values, what was Switzerland like in the 30s onwards and what was it dealing with?
1930s to 1950s a critical part of the revolution in Swiss graphic design. Maybe linked to war and economy - change in society and needs? Move from subjectivity to objectivity
Max Bill - Anton Stankowski
Max Bill a Bauhaus student from 1927 to 1929, favoured interdisciplinary work. 1931 poster for an exhibition of prehistoric rock paintings in South Africa became an early artifact of Swiss poster design.
Folkwangschule in Essen. Max Burchartz.
Anton Stankowski pioneered Constructive Graphic Art. Illustrating processes rather than objects, creating abstract and emotive shapes. German Born moves to Zurich in 1929. Developed his groundbreaking typo-photo style at Max Dalang's advertising studio.
Hans Neuburg came into contact with CONSTRUCTIVE graphic design through stankowski and promoted functional graphic design for industry in the 30s.
Neuburg launched and edited the magazine "Industriewerbund" (industrial advertising) in 1933.
Swiss design movement gained momentum with more influx of German immigrants joining the new movement, Max Dalang being instrumental.
Anti-Fascist resistance from 1936 onwards.
Political scene in Switzerland and Germany in the 30s. Did the German immigrants play a substantial role as 1936 was at the height of the Nazi fascist regime, did they escape to Switzerland and merge this with Switzerlands functional design momentum?
Photography established itself over illustration, as an expression of technology and objectivity maybe? Less ambigious and ephemeral than an illustration.
> Look into Typographic Laws derived from Jan Tschichold's "elementary typography" TYPOGRAFISCHE MITTEILUNGEN, OCTOBER 1925
Tschichold's idea of assymetric surface harmony - where did this stem from? the unique societal factors?
"OBJECTIVE PHOTOGRAPHY quickly established itself among young designers as an alternative to illustrative representation." Müller, L page 14
A STEP BACKWARDS ...
Switzerland were relatively unscathed during the Second World War but the design revolution involving designers such as Max Bill and Paul Lohse came to a stand-still after 1936 and moved into a phase of isolation.
Economic crisis of 1929
"The intellectual and spritual defense of our country" launched by Swiss Government to counteract the thread of fascism.
The National Swiss Fair 1939, showing off Swiss industry but in a more regressed and illustrative form of modernism in terms of painting, art, architecture.
Travel size poster depicted by Aloïs Carigiet, a famous painter and poster designer, for the Swiss National Fair 1939 in Zürich.
If you compare this 1939 poster to this 1936 poster for Contemporary lectures in Swiss painting and Sculpture by Max Bill, you can see how much of a backwards and traditional step Swiss design chose to present - mainly because of the threat of fascism and patriotism.
>>>
Abstract forms and forward thinking geometric shapes in design replaced by patriotic and media which hadn't changed in 1000 years.
Max Bill
Exhibition Poster
"Contemporary issues in Swiss Painting and Sculpture"
1936
"The exhibition united conservative and modern designers in a distinctive Landi style of realism posing as modernism in a combination of design and folklore, clad in local wood and stone."
Exhibition design being a focal point of designers such as MB in the 40s. Often being drafted in army, leaving little time for commisions until 1945.
War effecting designers interpretations of design and its power - their responsibility.
Muller-Brockmann concert posters in the mid 50's a much more objective and less illustrative work from his style in the late 40s and early 50s
Around 1945 a shared outlook developed between designers and activists of the pre-war period.
In Zurich, the magazine abstract/konkret was founded in connection with the Allianz - the group of artists later known as the Zürcher Konkrete" was formed including Max Bill, Richard Paul Lohse.
The Zürcher Konkrete led to the constructive graphic design that took hold in the 50s.
**
In a long-standing argument with Jan Tschichold over 'preferable' layouts Max Bill ended up creating an important discussion on design with his exhibition "Die guter Form (Good Design)" which examined the fundamentals of industrial design which like Dieter Rams later principles can be applied to all design, especially the modernist and functionalist approach developing in Switzerland.
The graphic design and emphasis on modernity and a professional outlook finally began to affect Swiss industry and businesses.
Swiss design being a natural successor to German design and craft? In particular Bauhaus which was closed by the Nazi's in 1933. Along with the influx of German immigrants it made sense. War completely affecting Swiss, even though they didn't take part. Swiss + German design being close pretty much overlapping.
>Look into if Swiss modernism of this period was a visual progression of the work produced in Bauhaus
Armin Hofmann played a hugely pivotal part in the refinement and development of what we signify as the classic Swiss style of design.
Zurich was the center of Constructive graphic design until mid 40s. After 1946 support came from Basel, with Armin Hoffman a student of the famous Ernst Keller teaching graphic design at the Trade School in Basel.
Hugely influential on the new graduates and new generation of designers in Switzerland. What did they teach exactly? How did it differ to other countries at the same time and does it differ to now, if it even exists?
The Trade School in Basel
The early Basel group of designers include icons of Swiss design such as Max Schmid, Karl Gerstner, Nelly Rudin, Gerrard Ifert and Igildo Biesele.
The number of automobiles in Switzerland doubles from 1947 to 1952. These issues were addressed in design with campaigns such as the accident barometer designed by MB in 1952, enhancing awareness of traffic dangers.
--------------------------------------
Sources
http://en.wikipedia.org/wiki/International_Typographic_Style
Muller, L (1995) 'Josef-Müller-Brockmann Pioneer of Swiss Graphic Design', Lars Müller Publishers, Switzerland
http://en.wikipedia.org/wiki/Anton_Stankowski
http://www.moma.org/collection/object.php?object_id=8453
http://www.galerie123.com/en/original-vintage-poster/5114/zuerich-swiss-national-exhibition-1939
Quotes +
Analysis
- - - - - - - - - - - - - - -
Developed in Switzerland in the 50's
Emphasises cleanliness, objectivity and readability. Highly typographic
Apparent hallmarks of the style are asymmetric layouts, heavy use of a grid, sans-serif typefaces such as Akzidenz Grotesk.
Flush left, ragged right text.
Swiss style sometimes referred to as the International Typographic style. maybe implying it's influence across Europe, and possibly the world.
"A sober and undramatic look at the current situation reveals very little direction in graphic design. Confusion surrounds the criteria for judging design quality; the eye is wearied by lack of content, aesthetically veiled. Mannerism and eclecticism are the driving forces behind the imagers, and their design repertory is determined by new technologies." [Müller, L; p6]
"So-called Swiss design is as much "Muller-Brockmann" as it is any other single personage. It is as much a matter of discipline as a matter of style. And though it is not as much in evidence today as it was when Müller-Brockmann switched from being an illustrator to a practicing graphic designer, (with emphasis on typographic rather than pictorial solutions)." - Paul Rand, Thoughts on Design 1947
Ernst Keller + Alfred Willimann - The driving force behind training in graphic design in Switzerland and taught a course Muller-Brockmann attended. Focused on arts and crafts, rather than simply design - similar to the Bauhaus.
MB (Muller-Brockmann) attended the Zurich school from 1932 to 1934
Williman taught typography class set up by Hans Finler in 1932 and had close ties with the Bauhaus
Emphasis on typography. Do many schools in Switzerland still focus on typography as much? Ask + Question.
Zurich School of Arts and Crafts / Now known as Zurich Museum and School of Design.
Research into the Zurich school and what specific teaching and training helped play a part in the swiss design revolution and nationally recognised style.
MB became a member of the SWISS WERKBUND n 1937.
In 1939 MB joined up with newly established ASSOCIATION OF SWISS GRAPHIC DESIGNERS
Right around the outbreak of WWII - did these collectives remain during/after the war?
SWISS WERKBUND - "An association of architects and designers from a variety of fields, formed to foster design that serves both aesthetic and social ends."
1930s - great deal of confusion and social, political and culturual issues and contradictions at hand in Swiss history.
"The 30s, the period that saw MB's training as a graphic artist and the start of his professional career, were a decade of contradictions in Swiss history. There were irreconcilable attitudes towards political, social and cultural issues.
Conservative reliances on hierarchical structures and traditional, time-honoured values was confronted with a politically moderate opposition interested in constructive modernism. The new minority actively pursued innovatory trends in architecture, art and commercial graphic design." Müller, L; p12
Political and social factors being at odds with a new wave of Swiss rebellion and forward thinking - basically modernity.
Stale culture motivating for a minorty to pursue innovation. What were these old backwards values, what was Switzerland like in the 30s onwards and what was it dealing with?
"The decade of the 30s was the cradle of Swiss Graphic Design, which was to make an international impact in the 50s" Müller, L; p12
1930s to 1950s a critical part of the revolution in Swiss graphic design. Maybe linked to war and economy - change in society and needs? Move from subjectivity to objectivity
Max Bill - Anton Stankowski
Max Bill a Bauhaus student from 1927 to 1929, favoured interdisciplinary work. 1931 poster for an exhibition of prehistoric rock paintings in South Africa became an early artifact of Swiss poster design.
Folkwangschule in Essen. Max Burchartz.
Anton Stankowski 1936
"Stankowski attracted attention with his designs for Max Dalang's advertising agency in Zurich. He introduced the technique of typo-photo-montage, new to Zurich, and dynamized the design surface with diagonally placed lines of type." Müller, L page 13
Stankowski, 1958
Anton Stankowski pioneered Constructive Graphic Art. Illustrating processes rather than objects, creating abstract and emotive shapes. German Born moves to Zurich in 1929. Developed his groundbreaking typo-photo style at Max Dalang's advertising studio.
Hans Neuburg came into contact with CONSTRUCTIVE graphic design through stankowski and promoted functional graphic design for industry in the 30s.
Neuburg launched and edited the magazine "Industriewerbund" (industrial advertising) in 1933.
Swiss design movement gained momentum with more influx of German immigrants joining the new movement, Max Dalang being instrumental.
Anti-Fascist resistance from 1936 onwards.
Political scene in Switzerland and Germany in the 30s. Did the German immigrants play a substantial role as 1936 was at the height of the Nazi fascist regime, did they escape to Switzerland and merge this with Switzerlands functional design momentum?
"More photographers and graphic artists joined the new movement, including Richard Paul Lohse, who also worked for Max Dalang in the 20s. Logse was politically committed and involved in anti-fascist resistance from 1936 onwards" Müller, L p13
Photography established itself over illustration, as an expression of technology and objectivity maybe? Less ambigious and ephemeral than an illustration.
> Look into Typographic Laws derived from Jan Tschichold's "elementary typography" TYPOGRAFISCHE MITTEILUNGEN, OCTOBER 1925
Tschichold's idea of assymetric surface harmony - where did this stem from? the unique societal factors?
"OBJECTIVE PHOTOGRAPHY quickly established itself among young designers as an alternative to illustrative representation." Müller, L page 14
"Akzidenz-Grotesk proved to be the appropriate type, effectively enhanced by geometrical elements... The aim was visual unity of typography and image." Müller, L page 14
A STEP BACKWARDS ...
Switzerland were relatively unscathed during the Second World War but the design revolution involving designers such as Max Bill and Paul Lohse came to a stand-still after 1936 and moved into a phase of isolation.
Economic crisis of 1929
"The intellectual and spritual defense of our country" launched by Swiss Government to counteract the thread of fascism.
The National Swiss Fair 1939, showing off Swiss industry but in a more regressed and illustrative form of modernism in terms of painting, art, architecture.
Travel size poster depicted by Aloïs Carigiet, a famous painter and poster designer, for the Swiss National Fair 1939 in Zürich.
This 1939 Fair was an occasion for the Swiss Nation to confirm its patriotic unity before the second world war."
If you compare this 1939 poster to this 1936 poster for Contemporary lectures in Swiss painting and Sculpture by Max Bill, you can see how much of a backwards and traditional step Swiss design chose to present - mainly because of the threat of fascism and patriotism.
>>>
Abstract forms and forward thinking geometric shapes in design replaced by patriotic and media which hadn't changed in 1000 years.
Exhibition Poster
"Contemporary issues in Swiss Painting and Sculpture"
1936
"In painting and sculpture this meant a return to a classical aesthetic that was accessible to the people. Commercial graphic design was exploited to serve similar ends. The campaign for moral rearmament culminated in the 1939 national fair in Zurich, known as the "landi", in whichi llustrative and representational work dominated."
"The exhibition united conservative and modern designers in a distinctive Landi style of realism posing as modernism in a combination of design and folklore, clad in local wood and stone."
Exhibition design being a focal point of designers such as MB in the 40s. Often being drafted in army, leaving little time for commisions until 1945.
War effecting designers interpretations of design and its power - their responsibility.
"Experience in the war years led MB to the belief that graphic design - if it was to inform and enlighten without being manipulative - had to be based on objective criteria." Müller, L page 17
Muller-Brockmann concert posters in the mid 50's a much more objective and less illustrative work from his style in the late 40s and early 50s
Around 1945 a shared outlook developed between designers and activists of the pre-war period.
In Zurich, the magazine abstract/konkret was founded in connection with the Allianz - the group of artists later known as the Zürcher Konkrete" was formed including Max Bill, Richard Paul Lohse.
The Zürcher Konkrete led to the constructive graphic design that took hold in the 50s.
"The movement gathered momentum with the collaboration of people like Carlo Vivarelli, Siegfried Odermatt, Carl Graf, Gottfried Honegger/Warja Lavater, Fridolin Müller and Max Huber" Müller, L page 27
**
In a long-standing argument with Jan Tschichold over 'preferable' layouts Max Bill ended up creating an important discussion on design with his exhibition "Die guter Form (Good Design)" which examined the fundamentals of industrial design which like Dieter Rams later principles can be applied to all design, especially the modernist and functionalist approach developing in Switzerland.
"Die Guter Form (Good Design)... examined the fundamentals of industrial design. Bill argued that an object used "....daily and all the time, from a pin to an interior décor [should be designed] in the spirit of a beauty developed from function, and that through this beauty it fulfills a function of its own," Müller, L page 28
The graphic design and emphasis on modernity and a professional outlook finally began to affect Swiss industry and businesses.
"Max Bill, with his interdisciplinary achievements and theoretical expertise, was ideal for the role of architect and first dean of the newly established Institute of Design in Ulm, Germany. The intention was to found a school that would carry on the tradition of the Bauhaus. Ulm was a centre of the new design in the 50s, with many Swiss connections." Müller, L page 28
Swiss design being a natural successor to German design and craft? In particular Bauhaus which was closed by the Nazi's in 1933. Along with the influx of German immigrants it made sense. War completely affecting Swiss, even though they didn't take part. Swiss + German design being close pretty much overlapping.
>Look into if Swiss modernism of this period was a visual progression of the work produced in Bauhaus
Armin Hofmann played a hugely pivotal part in the refinement and development of what we signify as the classic Swiss style of design.
Zurich was the center of Constructive graphic design until mid 40s. After 1946 support came from Basel, with Armin Hoffman a student of the famous Ernst Keller teaching graphic design at the Trade School in Basel.
Hugely influential on the new graduates and new generation of designers in Switzerland. What did they teach exactly? How did it differ to other countries at the same time and does it differ to now, if it even exists?
The Trade School in Basel
"His approach to design and his teaching methods, complemented by Emil Ruder's course in the basics of typography, made an almost immediate impact on the work of the first graduates in the late 40s." Muller, L page 29
"The Basel school under Hofmann still allowed students to explore forms and examine the effects of these forms, including the organic-abstract design that characterize Armin Hofmann's own posters. The Basel school and its more austere Zurich counterpart contributed equally to the imag of Swiss Graphic Design in the 50s and 60s." page 29
The early Basel group of designers include icons of Swiss design such as Max Schmid, Karl Gerstner, Nelly Rudin, Gerrard Ifert and Igildo Biesele.
The number of automobiles in Switzerland doubles from 1947 to 1952. These issues were addressed in design with campaigns such as the accident barometer designed by MB in 1952, enhancing awareness of traffic dangers.
--------------------------------------
Sources
http://en.wikipedia.org/wiki/International_Typographic_Style
Muller, L (1995) 'Josef-Müller-Brockmann Pioneer of Swiss Graphic Design', Lars Müller Publishers, Switzerland
http://en.wikipedia.org/wiki/Anton_Stankowski
http://www.moma.org/collection/object.php?object_id=8453
http://www.galerie123.com/en/original-vintage-poster/5114/zuerich-swiss-national-exhibition-1939
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