The Elements of Typographic Style - Essay Example

The first postwar decade demonstrated the new global trends of economic and cultural development: the growing spirit of cosmopolitanism. The developing sphere of commerce has initiated the emergence of multinational corporations. The speed and pace of communication processes transformed the world into a new global community in which the possibility of transmission of information proved crucial. In these circumstances, there is an urgent need for communicative clarity. There was also a need for simple pictures and standard glyphs that facilitate understanding and assimilation of information by people of different nationalities. Graphic Design, which developed in Switzerland in 1950 was aimed at these tasks, and therefore the concept and methodology of the Swiss style soon spread throughout the world. One of the areas where the emerging international style was the most in demand, was the pharmaceutical industry. The largest Swiss companies that manufactured chemicals and drugs (Ciba, Geigy, Hoffmann-La Roche, Sandoz) to establish a modern corporate style appealed to the leading masters of graphic design - A. Hofmann, C. Gerstner, N. Rudin, J. Hemburgeru, J . Müller-Brockmann and others. In Zurich in 1950-s. the most prominent graphic designer was Josef Muller-Brockmann, who has chosen a new «anonymous» style. A graduate of the Zurich School of Art and Industry, since 1936 he worked as a freelance graphic designer. One of the most brilliant pages in the the career was the creation of posters on the musical program of the Concert Hall (Zurich Tonhalle, 1950 - 1972) and the Opera House of Zurich (Opernhaus Zurich, 1960.). (Bringhust, 2004) To create a visual image of the placards Muller-Brockmann used cascades of crescent shape, the cycle of arcs, the modulation wave-like lines. By the beginning of 1960 the concert posters by Muller-Brockmann become extremely font. The intervals in words, taking the advantage of color and scale, sought to master rhythmic architectonic unity. Typographic composition, the formation of the principle of crossword, stepped lines, or in several columns, represented typical examples of functional typography . Strict and clear style of these years was the culmination of mathematical principles in graphic design. (Hollis, 2006) The main headsets used by the designers of international style of typography were the Univers by A. Frutiger (1957), Helvetica by E. Hoffmann and M. Midingera (1957), as well as other new antics. By the middle of 1960 the usual practice of Swiss graphic designers is the use of modular grid. The book by J. Muller-Brockmann «Challenges of graphic artist in the field of design engineering» (Gestaltungsprobleme des Grafikers, 1961) first presented the details of a modular system of construction in its diversity. One of the most famous works by J. Müller-Brockmann is the monograph «Modular systems in graphic design: a guide to visual communication for graphic designers, typographers and artists of three-dimensional design» (Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers , and Three Dimensional Designers, 1981). The designer said that his work would help the colleagues to learn the application working tool that will allow them to solve image problem in a single concept, structure and design more quickly and confidently. Using the modular grid, according to Müller-Brockmann, it demonstrates the professionalism of the designer, because his work must have clear, objective, functional and aesthetic quality of mathematical thinking. The book had a very great influence on the further development of graphic design, not only in Switzerland but also abroad. The theoretical and artistic heritage of the representatives of the Basel School of Graphic Design - E. Ruder (monograph «Typography. Guide to Format», 1967) and A. Hofmann («A Guide to Graphic Design: Fundamentals and Practice», 1965 ) is important for the formation of the international style of typography . In 1950 Swiss School of Graphic Design was the culmination of a conscious, rational principle in the art of printing. Reputation of an impartial and technocratic Swiss graphic design gained through the work of artists who followed the paradigm of modernist art. Adaptation of the principles worked out by the next historical era - the era of postmodernism - is largely thanks to the creative alliance of Z. Odermatt and R. Tissi. Graphic design of Odermatt and Tissi has some element of spontaneity, however, they never neglected the purity and austerity of the international typographic style. Using the extraordinary combination of forms and images a soft, ironic, sometimes even entertaining the audience, Odermatt and Tissi did not depart from the classical principle of Swiss typography - using a modular grid, and strict discipline of the entire composition. In this sense, their work can be called «stylistic Mannerism». This description seems even more true that the sophisticated style of designers, on the one hand, make use of conceptual tools of the Swiss typography, on the other hand, operates on them intuitively rather than formally.(Bringhust, 2004) Swiss School of Graphic Design occupies a prominent place in the design culture of the twentieth century. It synthesized the world most advanced achievements in the field of functional typography, graphics, type design, architecture and abstract art of 1920 - 1960. Swiss international style of typography, which emerged in 1940 — 1950 dominated the world graphic design until 1970. Its creators - E. Keller, M., Bill, E. Ruder, A. Frutiger, A. Hoffmann, J. Muller-Brockmann - have become the major theorists and teachers of the postwar generation of typographers, acclaimed throughout the world. In 1970 «New wave» of Swiss graphic design has brought the freedom of creative expression in typography, extending the boundary of the Swiss style, which has become scholastic. The major figures of the «new wave» were Wyngaert V., D. Friedman and E. Greyman. Noqadays the experience of the Swiss school of graphic design is very valuable for professional development of graphic designers. Demonstrating the classic examples of design culture of the twentieth century it opens up new creative possibilities for artists of graphic design in future.(Hollis, 2006) The characteristic feature of the international style of typography is its practicality and versatility in the context of the global market of postwar Europe. Already in 1950 Swiss typography determine the face of the majority of Swiss and international cultural institutions and corporations. The new style was most in demand in the field of visual identification of events of international concern, such as the Olympic Games in 1972 (Munich).(Bringhust, 2004) Different countries have different names for the modernist style: Art Nouveau, Jugendstil, Sezession, Liberty, and others formed in the Modern conditions of rapidly developing industrial society. The art nouveau, on the one hand, carried the idea of art, individualism, and on the other it was the art of utopian seen as a means of social transformation of society.(Bringhust, 2004) Adopting the principles of unity style-forming environment of a person - from the architecture of building to costume details, the lead representatives of Art Nouveau (despite the programmatic rejection of the hierarchy of types and genres of art) gave the desired architecture as the basis of the synthesis of the arts. Most clearly expressed in the modernist architecture of private homes - mansions, in the construction business, industrial and commercial buildings, train stations, tenement houses. Fundamentally new architecture of Art Nouveau was the refusal of a warrant or eclectically borrowed from other styles of decoration of the facade and interior. In the modern division it was not possible to design the decorative elements of the building; decorative modernism was an aesthetic understanding of architectural forms, sometimes makes one forget about its utilitarian purpose. Decisive importance in the structure of the building was the construction of interior space, which was reflected in the rhythmic organization and plastic exterior forms. Art Nouveau facades of buildings have in most cases, the dynamism and fluidity of forms, sometimes approaching the sculpture resembling organic or natural phenomena, sometimes they sparingly and clearly identify the components of geometrical volumes of the building. Some architects anticipated the modern functionalism, seeking to identify the skeletal structure of the building, stress tectonics of the masses and volumes. In contrast to the eclecticism of the 19th century which formally borrowed the details of historical and national styles, modern styling by organically mastered the art features of the different eras and styles, architectural patterns of the past, as well as drawing on the idea of the integrity of nature, the principles of interconnectedness of all parts of the artistic image. One of the main means of expression in art nouveau ornament was characteristic of curved shapes, often imbued with expressive rhythm and subjugates compositional structure of the work. Ornamental Home combines all forms of art nouveau. Inside the graceful line of weaving, moving vegetation are scattered on the walls, floor, ceiling, concentrated in areas of their pairing, combine architectural planes, activate the space. Lines of decor are the spiritual and emotional and symbolic meaning, combining the visual with the abstract, living with non-living, inspired with rem. The aim of the architect, painter, sculptor is the creation of synthetic, solid works of art. This trend is also evident in the birth of a new type of artist, which embraces different kinds of creative activities. Especially popular modern is in the field of arts and crafts, which manifest the same characteristics as the architecture and sculpture, including the assimilation of objects and their individual parts of organic forms. The idea of synthesis of arts permeates the modernist style. Architecture was seen as a synthesis, which unites all the other art forms - from painting to fashion. In architecture, modernism manifested organic fusion of design and decorative elements. Most examples of holistic synthesis of the arts give mansions, pavilions, public buildings, the Art Nouveau style. Typically, they are built like «from inside to out», ie the internal space determines the appearance of the building. Facades of houses were symmetrical and looked like the formation of similar organisms that resemble both the forms of nature and the result of free form-creating sculptor. Particularly expressive are the interiors of these mansions with flowing space, curved outlines of cornices, door and window openings, rich decor of carved wood, stained glass, metal. The latest techno-design tools and open plan were used for the construction of buildings with emphasis on the individualized appearance.(Bringhust, 2004) The artistic language of Art Nouveau was in many ways the embodiment of ideas and images of symbolism, combined with complex stylized floral decoration, the rhythm of flexible fluid lines and planar patches of color. In this spirit, the works of decorative art were performed: a panel, mosaic, stained glass, ceramic tiles, decorative reliefs, majolica sculptures, porcelain and glass vases and other paintings and graphic sheets were attached to the same features of decorative stylization in the spirit of modernism. Works cited Bringhust, Robert. 2004. The Elements of Typographic Style. Hartley and Marks Publishers; 3rd edition Hollis, Richard. 2006. Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965. Laurence King; New Ed edition Read More