International
typographic style
The international typographic style started
in the 1950s from Switzerland and Germany, the main objective was clarity. It was a major force for over two decades and
still influences work of today. The visual characters of the style include an agreement
of design achieved by asymmetrical elements on a mathematically constructed
grid; photography and the verbal information in a clear and factual manner.
Initiators of this movement thought that
sans-serif typography had expressed the spirit of a more progressive age, and
that grids are the most legible and harmonious means to structure information.
The designers of this movement defined
their roles not as artists but as an objective to convey and communicate important
information.
The basis of typographic style could be
found in the curriculum advanced at the School of Design in Basel. The
development of this curriculum has fundamental geometric exercises which
involves the cube and the line. This begun in the nineteenth century and was
influenced by De Stijl and The Bauhaus.
Ernst
Keller
Known as the father of Swiss Graphic design,
in 1918 he joined the Zurich Kunstgewerbeschulde and taught advertising layout and
in order to create a professional course in design and typography. He taught
designs of lettering, trademarks and posters. Ernst did not support a specific style;
Keller argued that the solution to a design problem should emerge from its
content. He had interest in symbolic imagery, simplified geometric forms,
expressive edges, lettering and vibrant contrasting colour.
Reference:
History of Graphic Design, Ernst Keller
[Online], Available at: http://www.historygraphicdesign.com/index.php/the-age-of-information/the-international-typographic-style/714-ernst-keller
[accessed 28th of November 2013]
Meggs P. B. and
Purvis A. W. 1998. 5th Edition. Hoboken, New Jersey: John Wiley & Sons ,
Inc.
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