The International or Swiss style was a combination of the modernist innovative styles, such as: De Stiji, Russian Constructivism and The Bauhaus. The International style brought these ideas together, without political motives or to be used for propaganda, and made them a style for a post-war world. This led to the this style of Sans Serif typefaces, asymmetry, use of grid systems and objective photography and copy, spreading throughout the world from its origins in Switzerland, and becoming the basis of the new field of commercial design. The International style was the key graphic design principle in use for two decades from the 1950s to the 1970s and still underpins vast amounts of today’s design, including digital design.
This week’s lecture followed on from the previous lecture’s in this module, where we had looked at the beginnings of modernism, right through World War II. Here we learned about how previous modernist styles combined, starting in Switzerland. In particular in Basel at the Advanced Design School, to create the International Style, adopted worldwide, and the basis for commercial design. Whilst the international style, was not universally accepted, with some designers feeling its scientific and objective approach stifled creativity. It became the standard style for two decades and has never truly been made redundant, with today’s designers still using many of its principles in today’s designs, including UI design and web design.
With Switzerland’s neutral status in World War II it was a natural place for designers and innovators displaced by the war to find themselves. Centred in Basel and Zurich many designers who had been involved with previous modernist movements such as Jan Tschichold and Josef Muller Brockmann, continued their work and inspired other designers to follow modernist principles. In a world looking to move beyond the past and particularly the horror of World War II, the timing was perfect for this forward thinking and new style to flourish.
Theo Balmer who had studied at the Bauhaus, was a key figure in the development of the Swiss Style, especially in his poster designs.
Source (https://www.moma.org/artists/314) Last Accessed 20/11/2022
This work from before World War II shows his modernist style, I really like how he has created a mirror image of the word brϋo, and switched the colour from black to red to create a marked visual contrast. This has created an eye-catching poster using nothing but typography, no graphics or images. Even the simple act of highlighting Basel in red, makes it leap out as important information, this poster is a real lesson in drawing a viewers eye in and then to the key focal points, a great piece of modernist design.
Emil Ruder who along with Armin Hofmann formed the Basel school of design was another key individual in the development of the Swiss Style especially in Typography. Ruder used grids and asymmetrical layouts as key parts of his designs, designs which were clear and concise. He believed that typography’s purpose was to communicate ideas through writing and this is clear in his work.
Source (https://www.famousgraphicdesigners.org/emil-ruder) Last Accessed 20/11/2022
This Emil Ruder poster is a clear example of his style, clear, concise and communicating the necessary information. Their is nothing unnecessary here, just the information, but the use of hierarchy through differing font sizes, guides the eye through the poster. This poster is a great example of how less can be more and that simple and effective are good foundations in any design.
Josef Muller Brockmann, is another key designer in the Swiss Style, who studied, practiced, taught and wrote about Graphic Design, he is a famous name widely cited in any discussion about the Swiss Style, and his book Grid Systems in Graphic Design, provides a way for designers to use grid systems in their work. With grid systems in such wide use in modern design, for example Google’s Material Design grid, this book is still relevant, definitely one to put on my own personal reading list.