Armin Hofmann | Bria Hughes

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When reduced to black and white, the processes of contrast and confrontation become clearer, more understandable, and easier to learn—as much for the designer as for the audience.

Armin Hofmann

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SWISS STYLE I

Swiss design, or more commonly referred to as International Style, originated in Switzerland in the 1940s and 1950s and was grounds for a new wave of communication design in the mid20th century. The style favored simplicity, legibility, and objectivity equally. Grids and asymmetrical layouts were used in every design to ensure clarity and organization. From Swiss Style design, new fonts were created and studied closer. Sans-serif fonts were heavily used in the designs. Swiss Style design also stressed the idea of using typography with photography in order to communicate more effectively. The primary works made in Swiss Style design were posters because they

seemed to be the most efficient at communicating an idea or concept. There was keen attention to detail, concept, precision, craft skills, and education. It originally was influenced by modernist and constructivist ideals that had an ultimate goal of simplicity. The question was always ‘how could you communicate the most effectively using the least amount of information possible?’ Because of this, Swiss Style design is based more on typography and layout rather than texture and pattern which seem to overcomplicate an idea. With just a few simple paragraphs and straight-forward formal design elements, you can get a point across.

The Dot Armin Hofmann 1965

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Armin Hofmann Bau and Requiem 1950s Armin Hofmann

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Armin Hofmann was born on June 29th, 1920 and was an influential designer in the 1940s.

Hofmann was a teacher at the Basel School of Design and followed Emil Ruder as head of the graphic design department. Hofmann’s teaching style set new standards and created breakthroughs for the design world. In Basel, form was not separated from expression. Form and expression grow together as a means of communication.

Hofmann’s teaching style brought in the idea of expression in a work in order to communicate and evoke a more powerful feeling and afterthought for his audience. Hofmann relies on the fundamental elements of form to create interesting patterns and visual language. Hofmann’s work had the ultimate goal of universality and clear communication to create interesting patterns and visual language.

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He believed that when designs were simplified into forms and black and white, they became more comprehensive and understandable. He trivializes color to argue that color can actually distract the brain from understanding the main point. It’s suggested that only one color may be used in a mostly black and white piece. Hofmann says that we must accustom ourselves to the idea that “our mental and vocational equipment must be constantly refurbished” and that our chances of making an effective contribution depend on how often we bring our knowledge up to date.

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LASTING IMPRESSIONS Giselle Armin Hofmann 1959

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Hofmann refers to poster design as a way to trivialize color. He believes that light and dark figures on a gridded base leave more colorful and lasting impressions. A sensible and meaningful form of advertising can be achieved by restraint in verbal message. Color can inevitably lose its light. There is interruption in motifs and its inner substance breaks down. Once he realized this, he wanted to use color sparingly. The only times he would use it was if it would serve the design a real purpose. He views it as sharply contrasting with the multicolored profusion of television. Finely tuned patches of color within large areas of neutral color can create expressive energy. Color television can essentially ruin people’s appreciation of color.

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He tries to give the picture more attention because a poster doesn’t just supply information, it reveals a society’s state of mind. People still fail to realize that amidst light, words, and noises, color loses its own musicality. In contrast with the artificial world, Hofmann uses a symbolic picture or simple forms in order to communicate louder than just words and text. He was interested in what happens behind the construction of the letters. Letters acquire a formal power and legibility that the king size poster was especially equipped to handle. Hofmann’s audience were always surprised by his range of graphic skills that would give him the freedom to be intuitive for what makes a poster visually surprising.

Die Gute Form Armin Hofmann 1952

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BIBLIOGRAPHY Terror, Diogo. “Lessons From Swiss Style Graphic Design – Smashing Magazine.” Smashing Magazine. Accessed April 18, 2017 Flask, Dominic. Armin Hofmann : Design Is History. Accessed April 18 2017.

Flask, Dominic. Swiss Design : Design Is History.

Accessed April 18 2017.

Hofmann, Armin. Graphic Design Manual: Principles and Practice. London: Alec Tiranti, 1965.

Hofmann, Armin, and Hans Wichmann. Armin Hofmann: His Work, Quest and Philosophy = Werk, Erkundung, Lehre. Basel: BirkhaÌuser, 1989.

Designed and written by Bria Hughes Composed in Helvetica, typeface designed by Max Miedinger in 1957 Copyright © 2017 Bria Hughes Portland, Maine Maine College of Art

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