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Wednesday, April 6, 16
The characteristics of this style are:
- Sans serif type- Asymmetrical organization of elements- Underlying grid used to structure page- Objective photography and copy used to present information in a clear, factual way (no propaganda)- Type set in flush left, ragged right, occassionally flush right ragged left
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Critics of the Swiss (or International) Style complained that it was too
formulaic with design solutions that all looked too much alike.
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Ernst Kellerposter for the Rietburg Museumundated
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Théo Ballmer posters, 1928
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Max Bill, book cover, 1942 and exhibition poster, 1945Wednesday, April 6, 16
Max Huberannual cover1951
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Max Huberposter for auto races1948
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Anton Stankowskitrademark for Standard Electrik Lorenz AG1953
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Anton Stankowskicalendar cover for Standard Electrik Lorenz AG1957
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Anton Stankowskiimage from Viessmann calendar1953(graphic representing heat transfer through a furnace)
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Anton Stankowskicover for Berlin layout(visualizing the Berlin Wall)1971
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composition with lowercase u in Univers fonts, 1960
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Univers, designed by Adrian Frutiger was a complete family of fonts.
Univers 55 is the baseline (Roman)Fonts to the left of 55 are extendedFonts to the right of 55 are condensedFonts above 55 are heavier in weightFonts below 55 are lighter in weight
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Adrian FrutigerSchematic diagram of 21 Univers fonts1954
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Edouard Hoffman and Max Miedinger, Helvetica typeface, 1961
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Herman Zapf is a master of typography. Born in 1918 and still living, he is the designer of typefaces including:
Palatino, Melior and Optima
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Hermann ZapfPalatino, 1950Melior, 1952Optima, 1958
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Hermann Zapfpage from Manuale Typographicum, 1968
(graphic for quote about the power of the printed word to govern time and space)
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Hermann Zapfpage from Manuale Typographicum, 1968
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Emil Ruderbook jacket for an anthology of dada poetry(reproduced in Typography: A Manual of Design, 1967)
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Fig. 18-21Armin Hofmann,poster for the Basel theater production of Giselle1959
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Armin Hofmann, logotype for the Basel Civic Theater, 1954
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Armin Hofmann, trademark for the Swiss National Exhibition, 1964
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Armin Hofmannposter for Herman Miller furniture1962
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Carlo L. Vivarelli“For the Elderly” poster1949
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Carlo L. Vivarellicover for New Graphic Design 21959
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Hans Neuburg, pages from New Graphic Design 7, 1960
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Hans Neuburg, pages from New Graphic Design 13, 1962(entries for logo competition)
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Josef Muller-BrockmannAmerican Books Today catalog cover1953
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Josef Muller-BrockmannSwiss Auto Club poster1954“the friendly hand sign protects against accidents”
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Josef Muller-Brockmannpublic awareness poster for less noise1960
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Josef Muller-BrockmannMusica Viva concert poster1959
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Josef Muller-BrockmannDer Film exhibition poster1960
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Josef Muller-Brockmannposter for an exhibition of lamps1975
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Josef Muller-Brockmannexhibition poster1980
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Siegfried Odermatt, cover for Schelling Bulletin No. 4, 1963
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Siegfried Odermatt, inside pages for Schelling Bulletin No. 4, 1963
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Rosemarie TissiUnivac ad1965
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During the 1960s, Rudolph DeHarak designed more than 350 book jackets for McGraw-Hill Publishing. He utilized the
swiss sense of type and grid.
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Rudolph DeHarakalbum covers, 1960s
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Rudolph DeHarakbook jackets for McGraw-Hill Publishers
early 1960s
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Rudolph DeHarakbook jackets for McGraw-Hill Publishers
early 1960s
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Rudolph DeHarakbook jackets for McGraw-Hill Publishers
early 1960s
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The Design Services office at MIT (Massachussetts Institute of Technology) helped to make the Swiss style prominent
in the United States.
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Jacqueline S. Caseyannouncement for the MIT Ocean Engineering program 1967
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Ralph Coburn, poster for the MIT jazz band, 1972
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Jacqueline S. Casey, poster for the MIT Open House, 1974
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Dietmar Winklerposter for an MIT computer programming course1969
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Arnold Saksposter for Inflatable Sculpture exhibit, Jewish Museum1968
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The Swiss or International style created the perfect visual vocabulary for the upsurge in corporate design that occured during the 1960s. This was because of its legibility,
visual strength and sense of order.
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