The International Typographic Style By Josef Muller Brockman

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

His style for logos was minimalist and simple use of lines with the use of negative and positive space. He also designed US postage stamp "Science and Industry"

Throughout time, there have been countless artists, designers and typographers that had the opportunity to make a bold statement, invent the next best thing or to engrave their name in the design industry for all eternity. Although ordinary people don’t realize a good design when they see it, they know it has attracted them somehow and they feel the need to ask and wonder how it came to be. Without question, Eric Gill has note ably revolutionized the type world. Without him there would be no benchmark for humanist typefaces; without Gill, there would be no Gill Sans, the font that will consistently be seen as a crisp, clean and readable font; as all typefaces should be. Despite for his one notorious face, he has created 11 typefaces, wrote

Moreover, I explained how each image is an example for the core principles of modernism as mentioned in the overview. In brief, modernist design is innovative. Space, form and structure is based on the functional requirements. Designs became simple and without overwhelming traditional aesthetic concepts. Therefore, technology together with simpler design made the product easy to be mass produced. After the first World War, designers in central Europe intended to change the world for better through art by rejecting ornamentation as it resembled of the past generations whom withstood the unpleasant effects of war and poverty (Smith, 2005). Dormer (1993) writes that:

Graphic design set its first roots in Germany in 1455 with the introduction of the Blackletter typeface and Johannes Gutenberg’s Gutenberg Bible. Coined as the godfather of printing Gutenberg helped to spread Blackletter in popularity. With the advent of Martin Luther’s New Testament, however, a schism was created between those that chose to use

Each one of the covers shared a common impact which was innovative, ingenious, original and revolutionary that immensely influenced modern art movement where Rand allied fine arts with graphics. In the 1940s, Paul Rand integrated Swiss Design style into his work breaking way from the usual standard layout and typeface.

Architecture had a great influence on graphic design from the 1900's to 1950's. Many art movements and artists influenced Graphic Design. Peter Behrens, El Lissitesky, Bauhaus, and Futurism all greatly impacted the Graphic Design concepts of today. Design was blended with architecture, especially in the Bauhaus school in Germany.

‘Modernism’ is derived from ‘modo’, a Latin word which means “just now”( Philosophy Basics. n.d.). Modernism, in its broad explanation includes the different movements related to art in the Europe, initiating from the end of the 19th century till the beginning of 20th century (Design History Mashup, Philip S. , 2008). These latest European movements developed to reject the conventional arts of the previous times. The public, who showed initial controversy to the new ideas, gradually acknowledged them. A major portion of these European movements and the public and political protests were

Considered one of the most influential typographers in history, John Baskerville made a significant mark on the world of print and type founding. Although considered a failure at printing during his lifetime he produced

The Museum of Modern of Art was the first to use the words “International Style”, which was a fitting term to introduce modernist arts to the world. Johnson and another renowned architect Henry-Russell Hitchcock organized a major show under the title “Modern Architecture: International Exhibition”. There they described the International Style that expresses several design principles, that concerns with volume rather than mass and solidity, regularity instead of axial symmetry, and the proscription of “arbitrary applied decoration”. Exhibits featured leading European and American architects, especially the likes of Le Corbusier and Ludwig Mies van der

Most often artist influence of movement or design from another pattern. These designers influenced by movement such as De Stiji, Bauahaus. According designers,

The focus of this essay is to explain why the International Typographic Style or “Swiss” style was so important to the mid twentieth century and how it got started. Firstly, it is an art movement that internationally began in the 1950’s, but the origins can be traced back at least thirty years. It can be thought of as a combination of elements from other movements such as Constructivism, De Stijl and the Bauhaus. According to Richard Hollis’ book Swiss Graphic Design, there are “at least three factors that account for the ‘Swiss’ style” (Hollis, R. 2006, P9), these being the country’s location, the language and the culture. There is evidence to prove that there are at least 2 other factors, especially for the origin of the style, which is shown in the book, along with several others. Although not directly linked to the foundation of the style itself, these 2 other factors include the designers and the typography, after all, it is known as the International Typographic Style. In this essay we will be discussing each of them in turn, and explaining views as to why they were important and what effect they had on graphic design in the mid twentieth century.

Graphic design started many years ago. Over time, graphic design skills changed, as well as the implementation of ideas. Different designers from around the world practiced design, and each one had their own way. Designers’ experiences helped them to do more modern work. Some of them brought new ideas to graphic design and developed it. There are many professional designers, but Herb Lubalin and Alexey Brodovitch deserve to be known in the history. They bring creative and modern ideas to the art deco movement.

“Design is for living”. The adage fashioned a widespread shift in design during the 1940s and 1950s. It revolutionized the form by creating an electrifying visual language that signaled a new age and a fresh start- two of the powerhouses were Charles and Ray Eames. The Eameses were a husband and wife team whose unique synergy led to a whole new expression in furniture and architecture. The couple advocated the principles of Modernism through the adaptation of innova¬tion from wartime technology .Their design style can be branded as “California Modernism,” a term that is often used interchangeably with “Mid-Century Modernism.” This distinct style embodied an approach to design that opposed the “social conscience” of the Bauhaus in order to embrace looser, warmer design which was both more expressive of local character and in touch with the realities of commerce and salesmanship. With the west-coast coming-of-age, economy shift from making goods to producing information and the global expansion of American culture; their lives and work embodied some of America’s defining movements. They contributed to architecture, film, industrial and graphic design. They were known as pioneers of affordable mass production and residential constructions. The evolution from furniture designers to cultural ambassadors validated their bents and overlaps with country’s interest and projected how design can enhance the lives and practical needs of ordinary people and not just the elite.

He also worked at freelance in London between 1972 up to 1979. He is a member of the German Design Council board and past president of the International Society of Typographic Designers (ISTD) and the International Institute for Information Design (IIID). He is also a professor at the University of the Arts in Bremen and he received an honorary doctorate from Pasadena Center of Art. As a typographer, he has made many accomplishments in his life such as being the founder of the following typefaces: FF Meta, ITC Officina, Lo-Type, FF Unit, Berliner Grotesk, FF Info and many more.