Swiss Graphic Design: Function + Imagery

SWISS GRAPHIC DESIGN

FUNCTION + IMAGERY

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COMMUNICATION

THROUGH IMAGERY J

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osef Müller-Brockmann had a goal of conveying simple concepts efficiently and effectively to a wide variety of viewers. The concepts in his posters are quickly understood through emphasis of a combination of visual elements that are associated with the message. These pieces are straightforward yet visually interesting because of the composition and use of color. The posters he designed for the Swiss Auto Club AAA were meant to convey a few messages related to safety surrounding motor vehicles (some of the basic messages were to watch out for pedestrians, use hand signals, and to be cautious). Illustration by nature serves to clarify or prove a point through an image, it is generally a watered down version of reality with some sort of exaggeration or artistic elements.

Müller-Brockmann preferred photography because it meshed with the Swiss style more effectively than illustration. However the problem then became conveying a concept equally as effectively using only photos, a difficult task.

Josef Müller-Brockmann, Swiss Automobile Club “The Friendly Hand-signal” poster, designed 1955

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� Josef Müller-Brockmann, Swiss Automobile Club “Watch that Child!” Campaign poster, designed 1952/1953 Josef Müller-Brockmann, Swiss Automobile Club poster, designed 1957

� Josef Müller-Brockmann, Swiss Automobile Club “Cyclist Look Out - Look Out Cyclist” Campaign brochure and poster, designed 1958 Josef Müller-Brockmann, Swiss Automobile Club “Courtesy = Safety” draft for a poster, designed1955

PHOTOGRAPHY IN SWISS DESIGN T

he versatility and simplicity that come with illustration is not easily matched by photography. Müller-Brockmann bridged the gap between the two using collage. He meticulously combined portions of different images with the end goal of illustrating a point effectively to the average viewer. The end product wasn’t something that could have been photographed, it was imagined and carefully crafted on paper. The collage technique allowed the artist to have the freedom to creative a composition from a series of elements, ultimately more intentionally than a photographer might.

One theme Müller-Brockmann has used throughout these posters is implied movement. The manipulation of scale and selective placement of images juxtaposed with one another provides that illusion, which makes the image even more effective. Moves like these would be far more difficult to pull off with a camera, which is what made his posters so successful and legible.

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INTEGRAL TYPE 6

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Ăźller-Brockmann combined images with the sterile Swiss style in a new way. In doing this he was able to make his posters and advertisements more effective and visually interesting through utilizing dynamic imagery as a foundation. He allowed the type to be an integral part of the image, or simply clarify the concept (as always he used neutral sans serifs).The technique was minimal and effective, yet drastically different from anything that had been done before in Swiss design. The use of photos in this manor was legible to the average person in a matter of seconds. Using imagery drew all demographics into the piece quickly and effectively. The dynamic yet simple images and large statements are eye catching from a distance.

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Josef MĂźller-Brockmann, Swiss Committee to Combat Noise campaign poster, designed 1960

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ne of the most well known Swiss graphic designers Josef Müller-Brockmann (1914­–1996) studied art history, and architecture in addition to design. He began his graphic design career in 1936 with an apprenticeship with Walter Diggelmann. By the 1950’s he became one of the countries leading practitioners and theorists of Swiss design, which he did alongside teaching. He is known for using a grid system to aid in clean and concise typography.

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� Josef Müller-Brockmann, exhibition poster, designed 1958 Josef Müller-Brockmann, part of the Spring Concerts poster series, designed 1953

� Josef Müller-Brockmann, exhibition poster, designed 1953

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� Josef Müller-Brockmann, advertisement, designed 1954/1955 Josef Müller-Brockmann, Musica Viva concert poster, designed 1958

� Josef Müller-Brockmann, concert poster, designed 1955 Josef Müller-Brockmann, Musica Viva concert poster, designed 1957

JOSEF MULLER-BROCKMANN

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ome of the most distinguishable characteristics of graphic design were used in new innovative ways when Muller-Brockmann began using photography in his work. His work is creative in a very calculated sense, relying heavily upon the grid system to create his compositions, though they tend to appear quite organic. All in an effort to create a more effective and universally accepted style.

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Josef Müller-Brockmann during an IBM presentation, 1965 Josef Müller-Brockmann, “Beethoven” concert poster, designed 1955

Bibliography: 1.

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Purcell, Kerry William. Josef Müller-Brockmann. Phaidon Press, 2006.

Müller-Brockmann Josef. A History of Visual Communication. Histoire De La Communication Visuelle. Arthur Niggli, 1971.

Muller, Lars. Josef Muller-Brockmann: Pioneer of Swiss Graphic Design. Lars Muller Verlag,Switzerland, 1995.

Müller-Brockmann Josef. Grid Systems in Graphic Design: a Visual Communication Manual for Graphic Designers, Typographers and Three Dimensional Designers. Niggli, 1981.

Müller-Brockmann Josef. The Graphic Designer and His Design Problems. Verlag Arthur Niggli AG., 1983

Designed and written by Ariel Ward Composed in Helvetica, typefaces designed by Max Miedinger with input from Eduard Hoffmann in 1957 Printed from a Canon Image Runner onto 60# Hammermill Copyright © 2019 Ariel Ward; Portland, ME, Maine College of Art