International Typographic Style By Vanesa Rom.
BTEC Level 3 in Graphic Design City college of Brighton&Hove
International typographic style
Photography and copy that present visual and verbal information in a clear and factual manner.
A design movement that emerged from Switzerland and Germany and has also been called Swiss design. Begun in the 1950s in Switzerland and Germany.
To be honest, this field is being one of my favourites and I think Imay go to study it.
Style included a unity of design achieved by asymmetrical organization on a mathematically constructed grid. Sans serif typography expressed the spirit of a more progressive age. Personal expression were rejected for a more universal and scientific approach to design problem solving. Clarity and order was ideal and objective.
Free from the exaggerated claims of propaganda and commercial advertising.
A manifesto formulated byMax Bill calling for a Universal art of absolute clarity based on controlled construction. Paintings in this style were constructed entirely from pure, and basic and exact visual elements— planes and colours. Because these elements have no external meanings, the results are purely abstract.
A branch of semiotics that focuses on the study of how signs and symbols are connected and ordered into a structural whole.
Semiotics The philosophical theory of signs and symbols. I would have to get deeper into it.
Semantics A branch of semiotics that focuses on the study of the meaning of signs and symbols.
This last three are really important to make a good work, with sense, harmony and good understanding.
A visually programmed family of twenty-one sansserif fonts designed by Adrian Frutiger in 1954.
Adrian Frutiger was born in 1928 at Unterseen near Interlaken, Switzerland.
The palette of typographic variations—limited to regular, italic, and bold in traditional typography —was expanded sevenfold. Numbers replaced conventional nomenclature. Because all twenty-one fonts have the same x-height and ascender and descender lengths, they form a uniform whole that can be used together with complete harmony.
Frutiger went to Paris in 1952 and worked as typeface designer and artistic manager at Deberny & Peignot. His first typeface creations were Phoebus, Ondine andMeridien. He established his international position as a typeface designer with his Univers sans-serif font, produced for metal and film in 1957. In addition to his typeface design, Frutiger has been a consultant to IBM.
Rudolph de Harak
This new sans serif, with an even larger x-heightthan that of Univers, was released as Neue Haas
Designed a Sans serif typeface with a larger x-height and even positive and negative shapes.
Grotesk by Edouard Hoffman and Max Miedinger.
Became the most widely used typeface during the 1960s and 70s renamed Helvetica.
American graphic designer opened his design studio in New York City in 1952. Like the Swiss designers, he communicated clarity and visual ordering his work. Designed over 350 bookjackets for McGraw-HillPublishers.
When this design was produced in Germany by the now defunct D. Stempel AG in 1961, the face was renamed with the traditional Latin name for Swiss.
The body of lower case letters and identical ascenders and descenders which created greater harmony. Their work have been a reference for Graphic designers around the world, been used during decades and still being one of the fresher styles to follow, to inspire professionalism, clarity, concrete, affective and purity within typography.
An influential artist and environmental designer, was known for making the complex seem simple and for adding a spark of life to
Modernism. Born in California, de Harak moved to New York with his family in the 1930s, where he attended trade school. After serving in World War II, de Harak took a job as an art director at Seventeen magazine. In 1952 he opened his own design office. De Harak reputation grew, earning him many prominent projects, many of which remain as effective and admired as when they were new, including the timeline and typographic displays for the Egyptian Wing of the Metropolitan Museum of art.
Josef Müller Brockmann Public awareness er,1960.
Red type declares “less noise,” while the photograph graphically depicts the discomfort noise causes.
Der Film” exhibition poster, 1960 against a black field, the words demonstrate a universal design harmony typographic style using succinct and efficient presentation of
information often used extreme scale with poster imagery.
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