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1 a l s o k n o w n a s t h e S w i s s S, i s a g r a p h i c d e s i g n He did s t y l e d e v e l o p e d i n S w i t z e r n o t l a n d i n t h e s t h a t e m teach a p h a s i z e s c l e a n l i n e s s, r e a d - specific a b i l i t y a n d o b j e c t i v i t y. style to H a l l a r k s o f t h e s t y l e a r e s y m m e t r i c l a y o u t s, u s e o f his students, a g r i d, s a n s - s r i f t y p e f a c - e s l i k e A k z i d e n z G r o t e s k, rar a n d f l u s h l e f t, r a g g e d r i g h t h e t e x t. T h e s t y l e i s a l s o a s - taught a s c i a t e d w i t h a p r e f e r e n c e f o r p h o t o g r a p h y i n p l a c e o f philosophy i l l u s t r a t i o n s o r d r a w i n g s. M a n y o f t h e e r l y I n e r - style that n a t i o n a l T y p o g r a p h i c S t y l e dictated w o r k s f e a t u r e d t y p o g r a p h y s a p r i m a r y d e s i g n e l e m e n t, a n d i t i s f o r t h i s t h a t t h e solution s t y l e i s n a m e d. T w m a j o r to S w i s s d e s i g n s c h o o l s a r e design r s p o n s i b l e f o r t h e e a r l y probl e m y e a r s o f I n t e r n a t i o n a l T y p o g r a p h i c S t y l e. A g r p h - i c d e s i g n t e c h n i q u e b a s e d should o n g r i d - w o r k t h a t b e g a n i n emerge t h e 1 9 t h c e n t u r y b e c a m e i n - from s p i r a t i o n f o r m o d i f y i n g its content. c h o o l o f D e s i g n i n f o u n d a t i o n a l c o u r s e a t t h e S h o r l y t h e r e a f t e r, i n Keller s E r n s t K e l l e r b e c a m e a p r - work f e s s o r a t t h e Z u r i c h S c h o o l uses o f t h e A p p l i e d A r t s ( K u n - simple s t g e w e r b e s c h u l e ) a n d b e g a n geometric d e v e l o p i n g a g r a p h i c d - s i g n a n d t y p o g r a p h y c o u r s e. forms, vibrant colors a n d evocative imagery to furr elucidate meani n g behind each design. Or early pioneers include Théo Ballmer a n d Max THEINTERNA- TIONAL POGRAPHIC TY- STYLE, The such 1950s as Univers. saw Univers distillation paved International way for Max Miedinger Typographic and Style collaborator elements Edouard into san-serif Hfman font to families font Neue Haas Grotesk, more commonly known as Helvetica. The movement began to coalesce create after influential a periodical designers publication who played began major in 1959 roles titled in New development Graphic Design, International which was Typographic edited by several The format journal represented many important elements style and was published Style. internationally, Müller-Brockmann, thus spreading sought an absolute movement and universal beyond Switzerland s form graphic borders. expression One through editors, objective Josef

2 The International Typographic Style, also known as Swiss Style, is a graphic design style developed in Switzerland in 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks style are asymmetric layouts, use a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right A graphic design technique based on grid-work that began in 19th century became inspiration for modifying foundational course at School Design in Shortly reafter, in 1918 Ernst Keller became a pressor at Zurich School Applied Arts (Kunstgewerbeschule) and began developing a graphic design and typography course. He did not teach a specific style to his students, rar he taught a philosophy style that dictated solution to design problem should emerge from its content. Keller s work uses simple geometric forms, vibrant colors and evocative imagery to furr elucidate meaning behind each design. text. The style is also associated with a preference for photography in place illustrations or drawings. Many early International Typographic Style works featured typography as a primary design element, and it is for this that style is named. Two major Swiss design schools are responsible for early years International Typographic Style. Or early pioneers include Théo Ballmer and Max Bill. The 1950s saw distillation International Typographic Style elements into san-serif font families such as Univers. Univers paved way for Max Miedinger and collaborator Edouard Hfman to create font Neue Haas Grotesk, more commonly known as Helvetica. The movement began to coalesce after a periodical publication began in 1959 titled New Graphic Design, which was edited by several influential designers who played major roles in development International Typographic Style. The format journal represented many important elements style and was published internationally, thus spreading movement beyond Switzerland s borders. One editors, Josef Müller-Brockmann, sought an absolute and universal form graphic expression through objective and impersonal presentation, communicating to audience without interference designer s subjective feelings or propagandistic techniques persuasion. Many Müller-Brockmann s feature large photographs as objective symbols meant to convey his ideas in particularly clear and powerful ways.

3 The International Typographic Style, also known as Swiss Style, is a graphic design style developed in Switzerland in 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks style are asymmetric layouts, use a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place illustrations or drawings. Many early International Typographic Style works featured typography as a primary design element, and it is for this that style is named. Two major Swiss design schools are responsible for Shortly early years International Typographic Style. A graphic design technique based on grid-work that began in 19th century became inspiration for reafter, in 1918 modifying foundational course at School Design in Ernst Keller became a pressor at T h e 1950s saw distillation International Typographic Style elements into san-serif font families such as Univers. Univers paved way for Max Miedinger and collaborator Edouard Hfman to create font Neue Haas Grotesk, more commonly Zurich School Applied Arts (Kunstgewerbeschule) and began developing a graphic design and typography course. He did not teach a specific style to his students, rar he taught a philosophy style that dictated solution to design problem should emerge from its content. Keller s work uses simple geometric forms, vibrant colors and evocative imagery to furr elucidate meaning behind each design. Or early pioneers include Théo Ballmer and Max Bill. known as Helvetica. The movement began to coalesce after a periodical publication began in 1959 titled New Graphic Design, which was edited by several influential designers who played major roles in development International Typographic Style. The format journal represented many important elements style and was published internationally, thus spreading movement beyond Switzerland s borders. One editors, Josef Müller-Brockmann, sought an absolute and universal form graphic expression through objective and impersonal presentation, communicating to audience without interference designer s subjective feelings or propagandistic techniques persuasion. Many Müller-Brockmann s feature large photographs as objective symbols meant to convey his ideas in particularly clear and powerful ways.

4 o - a n n e u t s e n b e r g - ( c ) a German was blacksmith, printer, goldsmith, publisher and troduced who in- Europe. printing His to invention cal mechani- type movable ing started print- Revolution Printing ly and regarded is wide- important as most modern event period. It role played in a key development sance, Reformation, Age and En- Renaislightenment, Scientific Revolution, basis and it for laid modern material edge-based economy and knowl- spread learning to masses. press, With his Gutenberg invention was printing ropean to use movable type first printing. Eu- Among are his invention many contributions a process to for print- oil-based mass-producing ink; and movable use type; a wooden use screw printing presses similar period. to agricultural epochal invention was combination His truly se tem elements that into a practical sys- a l - l o w e d t h e m a s s p r o d u c - t i o n o f p r i n t e d b o o k s a n d w a s e c o - n o m i c a l l y v i a b l e f o r p r i n t e r s a n d r e a d - e r s a l i k e. G u t e n b e r g s m e t h o d f o r m a k i n g t y p e i s t r a d i - t i o n a l l y c o n s i d e r e d t o h a v e i n - c l u d e d a t y p e m e t a l a l l o y a n d a h a n d m o u l d f o r c a s t - i n g t y p e. T h e a l l o y w a s a m i x - t u r e o f l e a d, t i n, a n d a n t i - m o n y t h a t m e l t e d a t a r e l a t i v e l y l o w t e m p e r a t u r e f o r f a s t - e r a n d m o r e e c o n o m i c a l c a s t i n g a n d c r e a t e d a d u - r a b l e t y p e. G u t e n b e r g s m a - j o r w o r k, t h e G u t e n b e r g B i - b l e ( a l s o k n o w n a s t h e l i n e B i b l e ), h a s b e e n a c c l a i m e d f o r i t s h i g h a e s t h e t i c a n d t e c h n i c a l q u a l i t y. T h e u s e o f m o v a b l e t y p e w a s a m a r k e d i m p r o v e m e n t o n t h e h a n d w r i t t e n m a n u s c r i p t, w h i c h w a s t h e e x i s t i n g m e t h o d o f b o o k p r o d u c t i o n i n E u r o p e, a s w e l l a s u p o n w o o d b l o c k p r i n t i n g, a n d i t r e v o l u t i o n i z e d E u r o p e a n b o o k - m a k i n g. Gutenberg s printing technology spread rapidly world. throughout In Renaissance Europe and Europe, later arrival printing introduced mechanical movable era mass type communication altered structure which permanently relatively unrestricted circulation society. The tionary information including ideas transcended revoluders, captured masses in bor- Reformation and threatened power political and religious authorities; sharp increase in literacy broke monopoly literate elite on education and learning and bolstered emerging middle class.

5 Johannes Gutenberg (c ) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His invention mechanical movable type printing started Printing Revolution and is widely regarded as most important event modern period. It played a key role in development Renaissance, Reformation, Age Enlightenment, and Scientific Revolution, and it laid material basis for modern knowledge-based economy and spread learning to masses. With his invention printing press, Gutenberg was first European to use movable type printing. Among his many contributions to printing are invention a process for mass-producing movable type; use oil-based ink; and use a wooden printing press similar to agricultural screw presses period. His truly epochal invention was combination se elements into a practical system that allowed mass production printed books and was economically viable for printers and readers alike. Gutenberg s method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting and created a durable type. Gutenberg s major work, Gutenberg Bible (also known as 42-line Bible), has been acclaimed for its high aestic and technical quality. The use movable type was a marked improvement on handwritten manuscript, which was existing method book production in Europe, as well as upon woodblock printing, and it revolutionized European book-making. Gutenberg s printing technology spread rapidly throughout Europe and later world. In Renaissance Europe, arrival mechanical movable type printing introduced era mass communication which permanently altered structure society. The relatively unrestricted circulation information including revolutionary ideas transcended borders, captured masses in Reformation and threatened power political and religious authorities; sharp increase in literacy broke monopoly literate elite on education and learning and bolstered emerging middle class.

6 Johannes Gutenberg (c ) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His invention mechanical movable type printing started Printing Revolution and is widely regarded as most important event modern period. It played a key role in development Renaissance, Reformation, Age Enlightenment, and Scientific Revolution, and it laid material basis for modern knowledge-based economy and spread learning to masses. With his invention printing press, Gutenberg was first European to use movable type printing. Among his many contributions to printing are invention a process for mass-producing movable type; use oil-based ink; and use a wooden printing press similar to agricultural screw presses period. His truly epochal invention was combination se elements into a practical system that allowed mass production printed books and was economically viable for printers and readers alike. Gutenberg s method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting and created a durable type. Gutenberg s major work, Gutenberg Bible (also known as 42-line Bible), has been acclaimed for its high aestic and technical quality. The use movable type was a marked improvement on handwritten manuscript, which was existing method book production in Europe, as well as upon woodblock printing, and it revolutionized European book-making. Gutenberg s printing technology spread rapidly throughout Europe and later world. In Renaissance Europe, arrival mechanical movable type printing introduced era mass communication which permanently altered structure society. The relatively unrestricted circulation information including revolutionary ideas transcended borders, captured masses in Reformation and threatened power political and religious authorities; sharp increase in literacy broke monopoly literate elite on education and learning and bolstered emerging middle class.

7 Four score and seven years ago our fars brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to proposition that all men are created equal. Now we are engaged in a great civil war, testing come have We cate dedi- to tion it, por- as a resting a place final those who died for here, might tion that live. na- This propriety But, do. all in may, we we sense, larger in can a we cate dedi- not consecrate not can hallow, not can we ground -- brave The this living men, struggled dead, who and here, have lowed above it, hal- poor our far power to or tract. add de- I t i s r a t h e r f o r u s, t h e l i v i n g, t o The nor long world remember will little what note, never we say forget here; what while y it can here. did s t a n d h e r e, w e h e r e b e d e d i c a t e d t o t h e g r e a t t a s k r e m a i n i n g b e - f o r e u s - - t h a t, f r o m t h e s e h o n - o r e d d e a d w e t a k e i n c r e a s e d d e v o - t i o n t o t h a t c a u s e f o r w h i c h t h e y h e r e, g a v e t h e l a s t f u l l m e a s u r e o f d e v o t i o n - - t h a t w e h e r e h i g h l y r e s o l v e t h e s e d e a d s h a l l n o t h a v e d i e d i n v a i n ; t h a t t h e n a t i o n, s h a l l h a v e a n e w b i r t h o f f r e e d o m, a n d t h a t g o v e r n m e n t o f t h e p e o - p l e b y t h e p e o p l e f o r t h e p e o p l e, s h a l l n o t p e r i s h f r o m t h e e a r t h.

8 Four score and seven years ago our fars brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to proposition that all men are created equal. Now we are engaged in a great civil war, test- that nation, The have brave hallowed men, it, living far above and dead, our poor who struggled power to here, detract. The world will little note, nor long remember add or what did here. we say It is here; rar while for us, it can never living, forget to stand what here, y we before here us be -- dedicated to great task remaining that, from se honored dead we take increased devotion to that cause for which y here, gave last full measure devotion -- that we here highly resolve that war. We se dead shall not have died in vain; that nation, have come shall have a new birth freedom, and that government people by people for people, shall not perish from earth. ing wher or any nation so con- ceived, and so dedicat- ed, can long endure. We a great bat- to dedicate it, as a final are met on tle field a portion resting place for those who died here, that nation might live. This we may, in all propriety do. But, in a larger sense, we can not dedicate -- we can not consecrate -- we can not hallow, this ground --

9 Four score and seven years ago our fars brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to proposition that all men are created equal. Now we are engaged in a great civil war, testing wher that nation, or any nation so conceived, and so dedicated, can long endure. We are met on a great battle field that war. We have come to dedicate a portion it, as a final resting place for those who died here, that nation might live. This we may, in all propriety do. But, in a larger sense, we can not dedicate -- we can not consecrate -- we can not hallow, this ground -- The brave men, living and dead, who struggled here, have hallowed it, far above our poor power to add or detract. The world will little note, nor long remember what we say here; while it can never forget what y did here. It is rar for us, living, to stand here, we here be dedicated to great task remaining before us -- that, from se honored dead we take increased devotion to that cause for which y here, gave last full measure devotion -- that we here highly resolve se dead shall not have died in vain; that nation, shall have a new birth freedom, and that government people by people for people, shall not perish from earth.

10/19/18 ARTH 3573 HISTORY OF GRAPHIC DESIGN. } American Modernism. } International Typographic Style } New York School } Paul Rand s Legacy

10/19/18 ARTH 3573 HISTORY OF GRAPHIC DESIGN. } American Modernism. } International Typographic Style } New York School } Paul Rand s Legacy ARTH 3573 HISTORY OF GRAPHIC DESIGN 9 modernism in america, international typographic style } American Modernism } 1913 } 1930s } The Depression } World War 2 } After the War } } New York School } Paul