THE SPIRIT OF A MORE
The International Typographic Style was a design style developed in the 1920s in countries such as Germany, The Netherlands and Russia, and bear elements & influences of Bauhaus, De Stijl, Constructivism, Suprematism and the New Typography of earlier years. It was expanded upon further by Swiss designers in the 1950s with hallmarks like a mathematically-based grid system, asymmetric layouts and sans serif type set in a ragged-right manner. It’s creators sought to present information free of bias and meaning beyond the content of the text displayed. International Typographic Style stems from the works of 2 major Swiss schools, Basel School of Design and the Zurich School of Arts and Krafts, leading, with further development in the 1950s, to the style also being called “Swiss Style”. This design style is still currently in use today by designers around the globe.
Free of Bias and Meaning
Ernst Keller, lovingly known as the “father of Swiss design.” His teachings mark the beginning of the grid systems for which Swiss Style is known
Sports Poster, 1958 by Eugene and Max Lenz, Designers & Typographers, highlight the high contrast use of photography in Swiss Style.
Armin Hofmann, co-founded the Schule für Gestaltung (School of Design) in 1947. Much of his work focused on elements of graphic form while remaining simple and objective.
Josef Müller-Brockmann is the most influential designer during the Swiss era. His style is minimalist and free of ornamentation, he used sans serif type and a strict grid structure.
Adrian Frutiger was known for creating the typeface Univers in 1957-1963. He applied specific mathematics to his design in overall font structure.
Müller-Brockmann heavily focused his work around the grid system and the Akzidenz-Grotesk typeface.