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Swiss graphic design and “the Swiss Style” are crucial elements in the history of modernism. During the 1920s and ’30s, skills traditionally associated with Swiss industry, particularly pharmaceuticals and mechanical engineering, were matched by those of the country’s graphic designers, who produced their advertising and technical literature. These pioneering graphic artists saw design as part of industrial production and searched for anonymous, objective visual communication. They chose photographic images rather than illustration, and typefaces that were industrial-looking rather than those designed for books.Written by noted design authority Richard Hollis, this lavishly illustrated volume looks at the uniquely clear graphic language developed by such Swiss designers as Theo Ballmer, Max Bill, Adrian Frutiger, Karl Gerstner, Armin Hoffman, Ernst Keller, Herbert Matter, Josef Müller-Brockmann, and Jan Tschichold. The style of these artists received worldwide admiration for its formal discipline: images and text were organized by geometrical grids. Adopted internationally, the grid and sans serif typefaces such as Helvetica became the classic emblems of Swiss graphic design.Showcasing design work across a range of media, including posters, magazines, exhibition displays, brochures, advertisements, books, and film, this essential book shows how many of the Swiss designers’ modernist elements remain an indispensable part of today’s graphic language.
- Sales Rank: #1150461 in Books
- Published on: 2006-04-28
- Original language: English
- Number of items: 1
- Dimensions: 1.10" h x 8.60" w x 10.90" l, 3.13 pounds
- Binding: Hardcover
- 272 pages
About the Author
Richard Hollis is a graphic designer and scholar of design. His previous books include Graphic Design: A Concise History (2002).
Most helpful customer reviews
16 of 18 people found the following review helpful.
Tineline confusion
By KenH
Hollis's book, while extensive in its documentation and admirable in its visual organization of the Swiss developments, comes to several conclusions which should be questioned. The first is the disproportionate and misguided prominence afforded Theo Ballmer as a prime influence stemming from his experience at the Bauhaus. Whatever Ballmer's influence as a poster designer in the 20s was, he had gotten his essential training in the Basel school, which underwent its own ongoing and largely independent modernist development, prior to Ballmer's very brief time at the Bauhaus. The Bauhaus influence is deemed minor by the emerging Basel school, and Ballmer's later influence in teaching photography and lettering has to be considered a lesser one.
Significant also is the confusion in reporting influences in development of the cutting edge Geigy Pharmaceuticals graphics program where the influences of Armin Hofmann and Emil Ruder as educators of the leading Geigy designers are missing. While this is inferred on page 162 in the statement that "the Geigy style originated in the teaching at the Allgemeine Gewerbeschule," the key influences in Basel--Hofmann and Ruder--are not mentioned.
Similarly, Hollis attributes Müller-Brockman's "conversion" to the influences of Lohse and Vivarelli, the evidence being the concert hall posters of 1951 and 52. While this is definitely a move in that direction from an earlier illustrative style, the most convincing change, and the style by which Müller-Brockman is widely known, emerged on the hiring of graduates of the Basel school under Armin Hofmann in 1955. This means that Hofmann and Ruder pre-date Müller-Brockman's mature style instead of being placed as p. 214 as a separate and later development--and not as a precursor feeding the larger Swiss development from a more humanistic perspective than the more constructivist direction of the Zürich school. One can argue about which contributed most to the international prominence of Swiss design, but Hollis's own statement p. 215 regarding the world-wide significance of Hofmann's Graphic Design Manual, Principles and Practice, on education is telling. Müller-Brockman's more objective approach was probably more influential in the world of corporate graphics.
Hollis betrays a bias, perhaps, in his strange analysis of Hofmann's Tell poster and omits such key poster achievements as the "Switzerland in the Roman Era" (1957). It is unfortunate that Hollis did not interview Armin and Dorothea Hofmann. They are few of the remaining key figures from the era of Hollis's investigation.
5 of 5 people found the following review helpful.
To go boldly with Helvetica
By Robin
The 'Swiss style' comes alive in this fascinating and very comprehensive study. If you design for print and ever wondered how some everyday graphic principles and typefaces originated the answer is in these pages. The story begins in twenties central Europe with a merging of modern art, the Bauhaus, Russian constructivism, craft printing techniques, photography and strong cultural attitudes in German speaking Zurich. All of these influences produced a graphic language of simplicity and directness that spread across Switzerland and one would expect nothing less from a country associated with order and precision.
Interesting as the text is I was particularly impressed with the several hundred illustrations (all with extensive captions) and as this is a book about a visual style and basically a printed one the choice of posters, examples of typography and many spreads from brochures, magazines, books all work well to complement the words.
I was interested in the several pages devoted to the magazine 'Neue Grafik' (New Graphic Design) which was the flagship publication of the Zurich modernists. It only ran for seventeen issues (from 1958 to a double issue seventeen and eighteen in 1965) but was really the only opportunity for designers outside Switzerland to see what was going on. Strangely, despite the design aiming for clarity, reading the issues was a bit of a chore. Three languages were set in each edition in one typeface and one size with paragraphs stretching sometimes to hundreds of words with no par indents or line space. However each spread looked fresh and lively thanks to the publication's grid.
I think it is worth commenting on the book's production. Designed by the author it uses a two column grid but nicely many pages just have one column of text and the space for the other text column is divided into two and used for illustrations and captions. The many variations of these column elements really make the pages sparkle and I think many publication designers could learn something by studying how the text and graphics blend together throughout the book.
Richard Hollis is to be congratulated on writing and designing a book that will surely be regarded as the definitive study about the origins of the Swiss Style.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
2 of 2 people found the following review helpful.
Un libro recomendable para amantes del diseño gráfico
By Juanjo Rogado Albert
Una magnífica edición. Muchas imágenes, alguna un poco pequeña - para el tipo de imagen, se echa en falta quizá alguna imagen de detalle o incluso un encarte -, pero en líneas generales muy buena selección, y cantidad de imágenes.
Los contenidos interesantes, por tratarse de una generación histórica en el diseño gráfico universal. Es un libro muy recomendable.
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