Chapter 18- The International Typographic Style Ernst Keller 1918 Zurich School of Applied Arts symbolic imagery, simplified geometric shape, expressive edges and lettering, and vibrant contrasting colors. Rietburg Museum Theo Ballmar Dessau Bauhaus Applied De Stijl principles to graphic design Using arithmetic grid of horizontal and vertical alignmenta Buro Max Bill Formulated Art Concret At Zurich School of Applied arts he created Akzidenz Grotesk American Architecture poster-intricate grid Anthony Froshaug Ulm Institute of Design Designed the first five journals had a strict pattern like grid Ulm Journal Max Huber Studied formal ideas at the Bauaus experimented with photomontage at the Zurich School of Arts and Crafts When he moved to Italy he produced posters combining bright hues and photographs in intense, complex visual organization design appeared to be pushing the edge of chaos, but with balance and alignment he maintained order took advantage of the transparency of printing inks by layering shapes, typography, and images to create a complex web of graphic information. Anton Stankowski German born, but spent most of career in Switzerland In Zurich he experimented with photography, photomontage, and dark room manipulation commissioned by berlin to redesign the city layout consistent design standards for architecture signage, street signs, and publications the short yellow lines represent the berlin wall and the divided city. Type set in medium Akzidenz Grotesk Herman Zapf in contrast to swiss typography, Zapf evolved the traditions of calligraphy and renaissance typography Palatino 1950- roman style with broad letters, strong serifs, elegant proportions somewhat reminiscent of Venetian faces Melior 1950- more modern, that departs from earlier models through its vertical stress and square forms Optima 1958- a thick and thin sans serif with tapered strokes Armin Hofmann Taught a Basel School of Design Saught dynamic harmony by experimenting with contrasting elements as a means of invigorating design Josef Muller-Brockmann sought an absolute universal form of graphic expression through objective and impersonal presentation, communicating to the audience without the interference of the designer's subjective feelings One of the editors of the New Graphic Design journal at Zurich his photographic posters treat the image as an objective symbol, with neutral photographs gaining impact through scale and camera angle universal design harmony achieved by mathematical spatial division. very close to the golden ratio Rudolph DeHark embraced ITS in America he combined purity of form with elemental signs and images in the early 1960's he initiated over 350 book jacket designs for McGraw-Hill Publishers Using a uniform typographic style and grid, each book's subject was implied and articulated through visual configurations. ranging from elemental pictographs to abstract geometrics
Chapter 19- The New York School Paul Rand editorial designer for Apparel Arts, Esquire, Ken, Coronet, and Glass important role of visual and symbolic contrast in Rand's design. He used collage and montage as a means to bring concepts, images, textures, and even objects into a cohesive whole Alvin Lustig created abstract geometric designs using type rules and ornaments used symbols to capture the essence of the contents and treating form and content as one by nailing a beautiful flower to rough wood represent the violence and hatred behind civilized facade in human affairs