10

IAT 102 Graphic Design

10

Review (Early Modern & New Typography)

Swiss Style + New Typography

Adrian Frutiger: Univers-Font

Select project topic (vote)

08

IAT 102 Graphic Design

Early Modern Art the great experiment

Jan Tschichold

1902-1979A Swiss national, he was a typographer, book designer, teacher and writer.

Tschichold became a leading advocate of Modernist design: through his most noted work Die neue Typographie (The New Typography)

This book was a manifesto of modern design, in which he condemned all fonts but sans-serif (called 'Grotesk' in Germany).

He also favoured non-centered design (e.g., on title pages), and codified many other Modernist design rules.

Text and image source: Wikipedia

Poster topics review- a new language of form

Russian Constructivists

Futurists, Dada, De Stijl, the Bauhaus, etc.

-Visual form becomes the content-Perceptual experience from the arrangement of these forms

Advocated the use of sans-serfi type, asymmetrical layout and the grid as an underlying structure.

The New Typography- Germany 1928

The New Typography- Germany 1928

Jan Tschichold (Germany): Typographische Mitteilungen, 1925

-Dynamic force should be present in each design. -Type should be set in motion.-Asymmetrical layout. -Flush left headlines with ragged edge-Kinetic asymmetrical design of contrasting elements (expressed new machine age)-San-serif type (without any embellishments) in various weights-Designs based on underlying horizontal and vertical structure-Spatial intervals important elements - Rules bars and boxes were often used for structure, balance and emphasis-White space used as structuring element-Clarity and beauty-Form from the function of the text -Photography favored over illustration

Jan Tschichold (Germany), late works: traditional typography, humanist tradition

1928 TschicholdNew Typography

50-60ies RuderWhite Space

1961Muller-BrockmannThe Grid

Armin Hofmann, 1954

New York School -1950’s

(International Typographic Style)

- asymmetrical organization

- mathmatical grid

- objective photography

- abstracted repeated geometric form

- clear and factual

- sans serif typography

-Design solution comes from content

Herbert Matter, Max Bill, Otl Aicher, Emil Ruder, Armin Hofmann,

Josef Müller-Brockmann

- (Chapter 18, Meggs)

International typographic style- 1950’s

More important then the visual appearance of the work is the attitude developed by its early pioneers. Designers defined their role as objective conduits for spreading important information between components of society. Order and clarity were the ideal.

Josef Muller-Brockmann 1914-1996

Josef Muller-Brockmann – concert series

Müller-Brockmann used colour, an arrangement of elemental geometric forms, and type to express the structural and rhythmic qualities of music.

Josef Muller-Brockmann – concert series

Used fonts in twoMüller-Brockmann's belief that using one typeface in two sizes (display and text) makes the message clear and accessible to the audience.

With Geometry

Josef Muller-Brockmann – auto club

His photographs treat the subject as an objective symbol, gaining impact through scale

Josef Muller-Brockmann – photography

Used fonts in twoMüller-Brockmann's belief that using one typeface in two sizes (display and text) makes the message clear and accessible to the audience.

Swiss International Style– Armin Hoffman

Swiss International Style– Armin Hoffman

American Design– mid century

European underpinnings Egalitarians society, capitalist values, limited artistic traditions, ethnically diverse

Emphasis was placed on express of ideas an open, direct presentation of information. Highly competitive society, novelty of technique and originally priced.

Communication problems and individual expression

New York School– 1940 -

Paul Rand

New York School– Paul Rand

Reduced communication content to a symbolic essence

“It pinpoints the distinction between abstract design without and abstract design with content,” he insisted. “You can be a great manipulator of form, but if the solution is not

apt, it’s for the birds.” – Paul Rand

New York School– Paul Rand

Reduced communication content to a symbolic essence

New York School– Paul Rand

New York School– Bradbury Thompson

New York School– Bradbury Thompson

i-clickers– Swiss international style

Identify a key difference between New Typography and Swiss International Style.

A.Mathematical gridsB.Asymmetrical layoutC.Designers defined their role as objective conduits for spreading society.D.San-serif fontE.Direct communication of idea

i-clickers– Swiss international style

Identify a key difference between New Typography and Swiss International Style.

A.Mathematical gridsB.Asymmetrical layoutC.Designers defined their role as objective conduits for spreading society.D.San-serif fontE.Direct communication of idea

i-clickers– Swiss international style

Identify a key difference between Swiss International Style New York School.

A.Mathematical gridsB.Asymmetrical layoutC.San-serif fontD.Individual expressionE.Use of white space

i-clickers– Swiss international style

Identify a key difference between Swiss International Style New York School.

A.Mathematical gridsB.Asymmetrical layoutC.San-serif fontD.Individual expressionE.Use of white space

i-clickers– Swiss international style

Project topic.

A.MoviesB.BiographiesC.NovelsD.Famous placesE.Technology (old and new)

fin