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A recent convert to modernism himself, Tschichold fully embraced the ideas of Russian Constructivism preached by artists and designers like Maholy-Nagy and El Lissitzky. JMB: Berthold’s Akzidenz Grotesk and the classical Roman types such as Garamond, Bodoni, Caslon and Baskerville. I have come to value Akzidenz Grotesk more than its successors Helvetica and Univers. It is more expressive and its formal foundations are more universal. The end of the ‘e’, for instance, is a diagonal which produces right angles. In the case of Helvetica and Univers the endings are straight, producing acute or obtuse angles, subjective angles. As with most graphic designers classified as part of the Swiss International Style, he was largely influenced by predominant 1920s art and design movements like Constructivism, Suprematism, De Stiijl and Bauhaus. These movements favoured simplicity, legibility and objectivity and shaped his design aesthetic from his early years onwards. YSS: You sold all the antique furniture and porcelain that your first wife Verena brought into your marriage, acquiring twentieth-century furniture by Le Corbusier, Miles van der Rohe and Marcel Breuer in its place. What does tradition mean to you?
A grid is like invisible glue that holds a design together. Even when elements are physically separated from each other, something invisible connects them together. We are not aware of these things in our daily work but we are capable of helping, however modestly, by thought and action. It would therefore seem desirable to try to indoctrinate the younger generation to induce in them an attitude of mind that puts the general welfare before their own interests. The logical consequence of this would be aimed at achieving harmony between national and international levels. JMB: At the end of the 1950s Japan’s interest in the west was enormous. Then came the 1960 World Design Conference in Tokyo, to which I was invited. I outlined my teaching method. The next day two school presidents invited me to come and teach in Tokyo and Osaka. I think at first the best-known Japanese designers and architects came to my Sunday classes out of curiosity. I told them to study their own history, which contains everything they need for good design: The Noh theatre, the temples, the gardens. Their Japanese teachers at the time spoke only of Europe. This book dissolves a lot of challenges one faces in layout work and eliminates confusion both for designers and the clients of their finished work. Things will inherently make more sense and the designer's workflow becomes simplified for the better while improving their work greatly.
Graphic designer by accident
This is a sponsored post.) Designers of all types constantly face issues with the structure of their designs. One of the easiest ways to control the structure of a layout and to achieve a consistent and organized design is to apply a grid system. JMB: I feel a deep obligation to tradition in so far as it is the conduit of timeless values. My efforts to educate myself, to understand the interconnections in Constructivism for instance, explain perhaps my openness to other disciplines such as art and architecture. These supplied the spiritual and aesthetic soil for the growth of a corresponding personal formal idiom, an architectonic typography that confined itself to essentials and found a contemporary expression for universal values. JMB: The experience of holding a valuable book in your hands cannot be replaced by technology, no matter how perfect. To be able to capture an interesting thought in elegant typography will always be an incomparable delight. But future generations will no doubt learn to use the opportunities the data banks provide in a positive way, in a communicative spirit, because communication is basic human need. Up to the present time, creative design would not seem to have endowed functional shape with significance. During his training, the draftsman learns to establish a link between producers and consumers by means of a conventional image. His concept of communication leads him to aim at those designs that "best" sell the ideas or products concerned. Present teaching places its emphasis on original ideas and the impact of the composition. It neglects the study of the society in which we live and in particular its legitimate right to objectivity in publicity information. It pays more attention to graphic form than to its deeper significance. When the educators take up the study of this aspect, the form of composition will be clearly modified. If all that is necessary to publicize a good product or a positive idea, it will suffice to make the item concerned the center of the composition. The message will reach a maximum power of expression if the abject or idea is presented aesthetically and efficiently with a minimum of accompanying design. Both subjective ornament in the sense of illustrative exaggerations and over-objective presentation must be avoided. Graphics should if possible become an anonymous vehicle for the message to be transmitted. This concept gives the artist a new angle of vision.
Vasileva E. (2021) The Swiss Style: It’s Prototypes, Origins and the Regulation Problem // Terra Artis. Arts and Design, 3, 84-101. JMB: I have always regarded a book as a design opportunity, nothing more. It was more like enjoying myself in my free time. I was motivated to write something on the history of visual communication by the insight that from the beginning man has used images as a defence against his inner and outer world, his fears of a threatening environment. At the time I knew of no book that dealt with this subject. Similarly I hadn’t found anything interesting written about the history of the poster. On mobile, users have limited screen space and can only view a small amount of content at a time before having to scroll. Thus, when designing a grid layout, make images large enough to be recognizable yet small enough to allow more content to be seen at a time. Yoox app for Android Test It Many popular frameworks use a grid system of 12 equal-widths column. The number 12 is the most easily divisible among reasonably small numbers; it’s possible to have 12, 6, 4, 3, 2 or 1 evenly spaced columns. This gives designers tremendous flexibility over a layout. A grid system with 12 equal-width columns is robust and flexible and provides different ways of organizing the structure. (Image credit: Aaron K. White)YSS: What is the source of your efforts to clarify everything and aspire to what is eternally valid? Is it a protest against death, or a fear of looking behind the picture to the unconscious? a b c d e f Clifford, John (2014). Graphic Icons: Visionaries who Shaped Modern Graphic Design. Pearson Education. p.115. ISBN 978-0-321-88720-7. Hollis R. Swiss Graphic Design: The Origins and Growth of an International Style, 1920—1965. New Haven: Yale University Press: 2001.
The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” JMB: I became a graphic designer by accident. At school I was loath to write much for compositions so I put in illustrations instead. My teacher enjoyed them and thought I had talent. He suggested that I should pursue an artistic career: gravure etching or retouching, for instance. So I was apprenticed as a retoucher in a printing works. I lasted one day because I said that this wasn’t artistic work. After that I was apprenticed to two elderly architects. With them I lasted four weeks. Then I went to see all the graphic designers I found listed in the telephone directory because I wanted to find out what they did. Afterwards I enrolled to study graphic design at the Zurich Gewerbeschule.
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Clear, concise, full of technical detail and with a proper investigation of the structured dedign space. How many words per legible line? A long-lasting constant, of around 10. Noted. JMB: I try to keep this orientation open and alive. For instance in the case of typefaces, I exploit what brilliant people have created in the way of knowledge, imagination and psychological truth. JMB: As a young man I was intrigued not only by psychology but also by graphology. When I met people who interested me I would read their handwriting and was rarely wrong in my judgements. But this gift began to disturb me, especially in my dealings with clients, where it would unnecessarily prejudice discussion. So I abandoned it overnight. Later I paid the price for giving up these analyses when I took on partners and employees whose handwriting would have given me an early warning of trouble ahead. JMB: Bill, Lohse, Neuberg and Vivarelli were my mentors. The first two through their artistic works, publications and their activity in the Swiss Werkbund, and Neuberg as a critic and designer, had a lasting positive influence on all areas of design. I, too, in my work – and thanks to good collaborators – was able to make a positive contribution in the 1950s and 1960s. My students in Zurich between 1957 and 1960 attracted attention later when their works were published in Neue Grafik. YSS: For years you ran an internationally famous gallery for Concrete Art. How important is art to you?
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