Form Follows Function

ISSUE 11

July 2017

Form Follows

Function

Exploring the Swiss Typographic Style of the 1950’s

Swiss Style

Above, clockwise from left: ‘Seit Langem Bewahrt’ Poster (Ruder, 1970). Stadt Theatre Poster (Ruder, 1963). ‘Giselle’ Ballet Poster (Ruder, 1959).

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hen the Swiss Style emerged in the 1950’s, it carried with it a bold statement. The style was progressive and wildly unfamiliar, offering up the concept that art could be more than just a visual aesthetic, but that it could have a purpose. The post-war period of the 1950’s was a pivotal point of cultural and social change.

The aftermath of the war provoked a need to rebuild the traditions that had been swept away in the turmoil. Designers across Europe were stirred by a sense of social

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responsibility, and the emergence of high modernist styles began to appear. There was recognition of the need to communicate effectively, and as such, one of the most influential movements in graphic design was developed.

Swiss Style, formally known as the International Typographic Style is characterised by a clean, orderly structure of organised information. Decorative elements are stripped away with all aspects of the design driven by the purpose of communicating a message. Linear forms

are often incorporated into asymmetric layouts and used as an aid to hierarchy.

Sans serif typefaces are used almost exclusively and a mathematical grid reigns supreme. The purpose of the grid is to provide a framework for the arrangement of information on a page where legibility exists as the ultimate goal. It was during this time that some of the most distinctive typefaces of the 20th century were established. Univers, Helvetica and Fruitiger are amongst the most recognisable type families of the era and were often set in a flush left, ragged right configuration.

1950

Above: Swiss Style Poster (Tschichold, 1925). Neues Denken Neues Wohnen Neues Bauen (Bill, 1977).

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y the late 1950s the movement began to surpass the confines of Swiss and even European boarders and was gaining traction on a global scale. Leading pioneers of the movement included Josef Muller-Brockmann, Emil Ruder and Armin Hofmann.

Each of these prominent typographers brought something unique to the style and helped to shape the movement as we know it today.

Of particular interest is Emil Ruder, who played a key part in the development of the style. After undertaking an apprenticeship as a compositor at age fifteen, Ruder joined the School of Arts and Crafts in Zurich. This design education played an integral role in Ruder’s overall career. Subsequently, he was later trained as a typesetter before going on to study further in Paris in the late ’30s. Ruder then became involved in teaching at the Basel school in 1947, alongside Armin Hofmann, a frequent collaborator in his future works.

printed work, which cannot be “ Aread, becomes a product without - Emil Ruder

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Swiss Style

Above: Beethoven (Muller-Brockmann 1955). ‘Anthologie de Musique’ Poster (Muller-Brockmann, 1957).

- Josef Muller-Brockmann

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Objectiverational design means legible design, objective information that is communicated without superlatives or emotional subjectivity.

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hroughout his Post-War career, Ruder was one of the key individuals who discarded what was generally accepted as the rules and conventions of typography, and he forged the way for Swiss-style typography to move on alongside the post-war progression. Ruder’s works are known to be similar to those of Joseph Muller-Brockmann, in that he focuses heavily on clean, contrasting typography and photography to communicate the desired message. However, a key element that distinguishes Ruder’s style from Brockmann’s is the aspect of subtle playfulness he often includes.

Of the many contributions made to modern design throughout the 20th century, Swiss Style is likely to be the most prominent.

Remnants of the Swiss designer’s original works are found in much of the contemporary design exhibited today, and is evident in both print and digital mediums. The legacy of designers such as Emil Ruder lives on and remains not only relevant, but influential even in the modern age.