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 What is
Modernism?

1
Modernism, in its broadest definition, is modern thought, character, or practice.
More specifically, the term describes the modernist movement in the arts, its set
of cultural tendencies and associated cultural movements, originally arising from
wide scale and far-reaching changes to Western society in the late 19th and
early 20th centuries. In particular the development of modern industrial societies
and the rapid growth of cities, followed then by the horror of World War I, were
among the factors that shaped Modernism. Related terms are modern, modernist,
contemporary, and postmodern. In art, Modernism explicitly rejects the ideology
of realism and makes use of the works of the past, through the application of
reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.
Modernism also rejects the lingering certainty of Enlightenment thinking, as well as
the idea of a compassionate, all-powerful Creator. In general, the term Modernism
encompasses the activities and output of those who felt the "traditional" forms of
art, architecture, literature, religious faith, social organization and daily life were
becoming outdated in the new economic, social, and political conditions of an
emerging fully industrialized world. The poet Ezra Pound's 1934 injunction to "Make
it new!" was paradigmatic of the movement's approach towards the obsolete.
Another paradigmatic exhortation was articulated by philosopher and composer
Theodor Adorno, who, in the 1940s, challenged conventional surface coherence,
and appearance of harmony typical of the rationality of Enlightenment thinking.
A salient characteristic of Modernism is self-consciousness. This self-consciousness
often led to experiments with form and work that draws attention to the processes
and materials used (and to the further tendency of abstraction). The modernist
movement, at the beginning of the 20th century, marked the first time that the term
avant-garde, with which the movement was labeled until the word "modernism"
prevailed, was used for the arts (rather than in its original military and political
context).

2
 M ode

Jung+Wenig (update) F.C. Gundlach

BOOK,BRANDING,DESIGN, INSPIRATION, MODERNISM,
MODERNISM TYPOGRAPHY PHOTOGRAPHY. Collection images by
Solid work in the portfolio of design studio renowed German fashtion photographer
JUNG+WENIG. F.C Gundlah
rnis M
Swiss Poster archive
DESIGN, MODERNISM. The Swiss gov-
erment has launched aposter database
featuring just about every poster published
and archive in Switzerland. The work of
Joseph Muller- Brockmann.
Geigy’s graphic design
ADVERTISING,BRANDING,DESIGN,
ILLUSTRATION, INSPIRATION,MODERN-
ISM, TYPOGRAPHY. Great graphi design
circa 1940-1970,from the Swiss chemical
company , Geigy.
 Studio Laucke Siebein

Whilst researching the subject I came across some

interesting information, first of all it states that at
the core of Modernism lay the idea that the world
had to be fundamentally rethought. The carnage
of the First World War led to widespread utopian
fevour, a belief that the human condition could be Studio Laucke Siebein
healed by new approaches to art and design, more DESIGN,INSPIRATION,MODERNISM,TYPOGRAPHY.
spiritual, more sensual, or more rational. Then it Plenty of solid work to be found over at Studio Laucke Siebein, along with
went on to say The Russian Revolution offered a photographs of their nicely appointed workspace
model for an entirely new society. (Designing a new
world V&A: 2) Designing a new world V&A goes on
to talk about how modernism was promoted back
then. It states that as modernism was campaigned,
it generated many exhibitions and countless books,
journals, posters and advertisements. Then it goes
on to say that in both design and content it would
argue the case of ‘New’, often with a generational
and political bias against the old. Lastly under
“promoting modernism”, it states that Modernist
graphic design and advertising came to be known
as the New Typography and it favoured sans-serif
lettering, sometimes without uppercase letters
and Typo-Photo in which photographic images
were montage alongside type. Also Colour and
composition were influenced by abstract paints.here
are some of the example i have been collected for
modernism pictures.
 Whilst researching the subject I came across some
interesting information, first of all it states that at
the core of Modernism lay the idea that the world
had to be fundamentally rethought. The carnage
Stout / Kramer. DESIGN, INSPIRATION,MODERNISM TYPOGRAPHY. The
of the First World War led to widespread utopian
cool Modernist / Swiss style of Dutch design studio, Stout / Kramer.
fevour, a belief that the human condition could be
healed by new approaches to art and design, more
spiritual, more sensual, or more rational. Then it
went on to say The Russian Revolution offered a
model for an entirely new society. (Designing a new
world V&A: 2) Designing a new world V&A goes on
to talk about how modernism was promoted back
then. It states that as modernism was campaigned,
it generated many exhibitions and countless books,
journals, posters and advertisements. Then it goes
on to say that in both design and content it would
argue the case of ‘New’, often with a generational
and political bias against the old. Lastly under
“promoting modernism”, it states that Modernist
graphic design and advertising came to be known
as the New Typography and it favoured sans-serif
lettering, sometimes without uppercase letters
and Typo-Photo in which photographic images
were montage alongside type. Also Colour and
composition were influenced by abstract paints.here
are some of the example i have been collected for
modernism pictures.
De Stijl Magazine
De Stijl, Dutch for “The Style” was published from 1917-1920 as a document
to the Dutch-founded ar tistic movement which ran from 1917-1930. Published
by Theo van Doesburg, De Stijl is considered an essential document of the time

De Stiji no1(Delft October 1917)

Theo Van Doesburg
The Van Doesburg was a Dutch artist , who practised
painting, writting, poetry and architecture. He is
best known as the founder and leader od De Stijl.
Movement: De Stijl, Elementarism, Concrete art and
Dadaism. His first exhibition was in 1908. From
1912 onwards, he supported his works by writing
for magazines. Although he considered himself to
be a modern painter at that time, his early work
is in line with the Amsterdam Impressionists and
is influenced by Vincent van Gogh, both in style
and subject matter. This suddenly changed in 1913
after reading Wassily Kandinsky’s Rückblicke, in
which he looks back at his life as a painter from
1903–1913. It made him realize there was a higher,
more spiritual level in painting that originates from
the mind rather than from everyday life, and that
abstraction is the only logical outcome of this. It was
already in 1912 that Van Doesburg was criticizing
Futurism in an art article in ‘Eenheid’ no. 127, 9
November 1912, because “The mimetic expression
of velocity (whatever its form may be: the aero
plane, the automobile, and so on) is diametrically
opposed to the character of painting, the supreme
origin of which is to be found in inner life.”
6 November 1915 he wrote in the same journal: “
Mondrian realizes the importance of line.The line
has almost become a work of art in itself; one can
not play with it when the representation of objects
perceived was all-important. The white canvas is
almost solemn. Each superfluous line, each wrongly
placed line, any color placed without veneration
or care, can spoil everything – that is, the spiritual
 Modernism
Movements

B
eing modern means being up to date but being Modernist is an affirmation of faith in
the tradition of the new which emerged as the creative credo of progresive artist in the
early years of the twentieth century. Modernism is the umberella name for a bewildering
array of movements -Cubism, Expressionism, Futurism, Dadaism, Serialism, Surrealism
and ideas abstraction, functionalism, atonality, free verse most of which appeared
shorlty before or after the first world war.Modernism, in its broadest definition, is modern
thought, character, or practice. More specifically, the term describes the modernist
movement in the arts, its set of cultural tendencies and associated cultural movements,
originally arising from wide-scale and far-reaching changes to Western society in the
late 19th and early 20th centuries. In particular the development of modern industrial
societies and the rapid growth of cities, followed then by the horror of World War I, were among the
factors that shaped Modernism. Related terms are modern, modernist, contemporary, and postmodern.
In art, Modernism explicitly rejects the ideology of realism and makes use of the works of the past,
through the application of reprise, incorporation, rewriting, recapitulation, revision and parody in new
forms. Modernism also rejects the lingering certainty of Enlightenment thinking, as well as the idea of
a compassionate, all-powerful Creator.In general, the term Modernism encompasses the activities and
output of those who felt the “traditional” forms of art, architecture, literature, religious faith, social
organization and daily life were becoming outdated in the new economic, social, and political conditions
of an emerging fully industrialized world. The poet Ezra Pound’s 1934 injunction to “Make it new!” was
paradigmatic of the movement’s approach towards the obsolete. Another paradigmatic exhortation was
articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional
surface coherence, and appearance of harmony typical of the rationality of Enlightenment thinking. A
salient characteristic of Modernism is self-consciousness. This self-consciousness often led to experiments
with form and work that draws attention to the processes and materials used (and to the further tendency
of abstraction).The modernist moment was labeled until the word “modernism” prevailed, was used for
the arts (rather than in its original military and political contex.
Cubism Expressionism Futurism

Dadaism Abstract Surrealism

 Bauhaus
Bauhaus, was a school in Germany that combined crafts and the fine
arts, and was famous for the approach to design that it publicized and
taught. It operated from 1919 to 1933. At that time the German term
Bauhaus, literally “house of construction” stood for “School of Building”.
The Bauhaus school was founded by Walter Gropius in Weimar. In
spite of its name, and the fact that its founder was an architect; the
Bauhaus did not have an architecture department during the first years
of its existence. Nonetheless it was founded with the idea of creating
a “total” work of art in which all arts, including architecture, would
eventually be brought together. The Bauhaus style became one of the
most influential currents in Modernist architecture and modern design.
The Bauhaus had a profound influence upon subsequent developments
in art, architecture, graphic design, interior design, industrial design,
and typography. The school existed in three German cities (Weimar
from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932
to 1933), under three different architect-directors: Walter Gropius from
1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies
van der Rohe from 1930 until 1933, when the school was closed by its
own leadership under pressure from the Nazi regime. The changes of
venue and leadership resulted in a constant shifting of focus, technique,
instructors, and politics. For instance: the pottery shop was discontinued
when the school moved from Weimar to Dessau, even though it had
been an important revenue source; when Mies van der Rohe took over
the school in 1930, he transformed it into a private school, and would
not allow any supporters of Hannes Meyer to attend it. was discontinued
when the school moved from Weimar to Dessau, even though it had
been an important revenue source.
Bauhaus, was a school in Germany that combined crafts and the fine
arts, and was famous for the approach to design that it publicized and
taught. It operated from 1919 to 1933. At that time the German term
Bauhaus, literally “house of construction” stood for “School of Building”.
The Bauhaus school was founded by Walter Gropius in Weimar. In
spite of its name, and the fact that its founder was an architect; the
Bauhaus did not have an architecture department during the first years
of its existence. Nonetheless it was founded with the idea of creating
a “total” work of art in which all arts, including architecture, would
eventually be brought together. The Bauhaus style became one of the
most influential currents in Modernist architecture and modern design.
The Bauhaus had a profound influence upon subsequent developments
in art, architecture, graphic design, interior design, industrial design,
and typography. The school existed in three German cities (Weimar
from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932
to 1933), under three different architect-directors: Walter Gropius from
1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies
van der Rohe from 1930 until 1933, when the school was closed by its
own leadership under pressure from the Nazi regime. The changes of
venue and leadership resulted in a constant shifting of focus, technique,
instructors, and politics. For instance: the pottery shop was discontinued
when the school moved from Weimar to Dessau, even though it had
been an important revenue source; when Mies van der Rohe took over
the school in 1930, he transformed it into a private school, and would
not allow any supporters of Hannes Meyer to attend it. was discontinued
when the school moved from Weimar to Dessau, even though it had
been an important revenue source.
To recognize the meaning, the form, the
purpose of all things of the material modern
world with the same truth as the Greeks,
among many others, recognized the
meaning, form, an purpose of the column.
It is not easy nowadays to find the exact
meaning and the exact form for the simplest
1
things. Adolf Loos

Charles Ren-
nie Mackintosh,
Texttile Design,
C.1920
Much admired by the Vi-
ennese Secessionists, the
Scottish architect Mackin-
tosh pioneered a style of
decoration which anticipat-
ed the geometric purity of
Modernism.
Gestalten
Markus Hollmann-Loges,
Andreas Payerl, Robert

1990
Klanten
Gestalten is a publisher and creative agency mostly
known for their 350 books on art, architecture,
design, photography and typography. The company
has 40 staff members through offices in Berlin,
London, New York and Tokyo. Gestalten’s books
are unique in the industry as all are edited and Initially founded in 1990 by industrial design students
designed by designers. They typically document and Markus Hollmann-Loges, Andreas Peyerl and
anticipate vital trends in visual culture, the results Robert Klanten, the company has expanded from
of which Print Magazine has called “timeless” and graphic design books to a broad range of activities.
“a perfect expression of our time.” Gestalten’s In addition to producing and distributing video
“Logos” series are a long-running bestseller and podcasts, calendars, art editions and toys, Gestalten
are influential in art schools and graphic design is an international leader in curation (Design Hotels
studios internationally. They have also published Future Forum), creative direction and design
the monographs of critically acclaimed designers, services for the likes of Volkswagen, Uniqlo and Diesel.
including Marcel Wanders, Arne Quinze and Jaime The company also has its own foundry, Gestalten Fonts,
Hayon. In 1994, Die Gestalten created their first and offers a selection of text fonts, display fonts and
book, “Localizer,” together with Chromapark. It experimental fonts created by designers and for designers.
was one of the first books to cover the burgeoning
techno and electronic music scene in a strong visual
and comprehensive survey.
In 2002, Gestalten published the world’s smallest
book, a leather-bound, 26-page ABC-picture book
from artist Joshua Reichert, which came packaged
with a magnifying glass and sold at Selfridges for £70.
Following the Asian tsunami crisis in December 2004,
Gestalten teamed up with UK design agency ILovedust
to produce a charity book. “A Book Designed to
Help” was released in March 2005 and donated all
proceeds to charities in the region. The publication
of “Neubau Welt” the same year featured designer
Stefan Gandl and his team, and included an
encyclopedic catalogue of over 1,000 vector-based
drawings of common objects and three original
Neubau fonts. According to Creative Review, the
book “proved so popular with the design community
that the first edition sold out within eight weeks.

Markus Hollmann-Loges, Andre-

as Payerl, Robert Klanten
Josef
The Swiss Automobile Club Poster:

In 1952, he designed an abstract, three dimensional

public signage for the Swiss Automobile Club which

Muller-
was set up in Zurich. It included an “Accident
Gauge” which advertised the hazards of driving,
showing a summary of each week’s total automobile-

Brockmann
related accidents and deaths.
His first poster success was for the Swiss Automobile
club (“Watch that Child!”) which gained him
reputation as a designer. This poster showed Muller-
Brockmann’s use of photography and typography,
rather than illustration. He believed in socially
resonsible design and showed this through his health
and safety posters.

Josef Müller-Brockmann, (May 9, 1914,

in Rapperswil – August 30, 1996), was
a Swiss graphic designer and teacher.
He studied architecture, design and
history of art at both the University and
Kunstgewerbeschule in Zurich. In 1936
he opened his Zurich studio specialising
in graphic design, exhibition design and
photography. From 1951 he produced
concert posters for the Tonhalle in Zurich.
In 1958 he became a founding editor of
New Graphic Design along with R.P.
Lohse, C. Vivarelli, and H. Neuburg. In Muller-Brockmann wrote several books throughout
1966 he was appointed European design his life, including:
consultant to IBM. Müller-Brockman was “Gestaltungsprobleme des Graphikers/The Graphic
author of the 1961 publications The Designer and his Design Problems” - 1961
Graphic Artist and his Design Problems, “Geschichte der visuellen Kommunication/A history
Grid Systems in Graphic Design where of Visual Communication” - 1971
he advocates use of the grid for page “Mein Leben: Spielerischer Ernst und ernsthaftes
structure, and the 1971 publications Spiel” - 1994
History of the Poster and A History of “History of the Poster” (with Shizuko Muller-
Visual Communication. He is recognised Brockmann) - 1971
for his simple designs and his clean use of “Grid Systems in Graphic Design” - 1981
typography, notably Akzidenz-Grotesk, “Photoplakate: von den Anf angen bis zur
shapes and colours which inspires many Gegenwart” (with Karl Wobmann) - 1989
graphic designers in the 21st century.
 The Swiss Automobile Club Poster:

In 1952, he designed an abstract, three dimensional

public signage for the Swiss Automobile Club which
was set up in Zurich. It included an “Accident
Gauge” which advertised the hazards of driving,
showing a summary of each week’s total automobile-
related accidents and deaths.
His first poster success was for the Swiss Automobile
club (“Watch that Child!”) which gained him
reputation as a designer. This poster showed Muller-
Brockmann’s use of photography and typography,
rather than illustration. He believed in socially
resonsible design and showed this through his health
and safety posters.

Poster Series at the Zurich Tonhalle:

The poster series Josef Muller-Brockmann is most

well known for is which he designed for the
Zurich Tonhalle. He began producing concert
posters in 1951, and continued until 1972. These
posters created a mathematical harmony which
reflected the harmony of music.
Geigy’s Graphic Design
In its heyday in the 1960s, Basel-based company
Geigy (now part of Novartis, one of the world’s
biggest pharmaceutical multinational) was not
just at the forefront of drugs research it was also
one of the leading proponents of the International
Typographic Style, Switzerland’s influential post-
war graphic design movement (recently celebrated
in an exhibition, entitled Types We Can Make by
Lausanne design school ECAL at the MIT Museum).
With their asymmetrical designs, sans-serif typography
and block colours, the brand’s Swiss Style advertising and
packaging have inspired generations of designers. Now a new
exhibition, ‘Good Design, Good Business – Graphic Design
and Advertising by Geigy 1940-1970’, is opening in Le Lieu du
Design, in Paris’ 12ème arrondissement. Curated by Andres
Janser of Zurich’s Museum of Design, it explores Geigy’s
innovative brand identity with the help of over 400 objects –
including posters, leaflets, promotional gifts and postcards.
‘The design studio at Geigy was crucial for the development
and, subsequently, for the international reception of Swiss Style
in graphic design,’ explains Janser. ‘Geigy’s typography was
as playful as it was controlled, and its design department was
known for its use of scarce but strong visual elements, as well as
bold colours – unsurprisingly, given that colours, in the form of
fabric dyes, were some of Geigy’s most important products.’
Geigy’s packaging, produced in the late 1950s, also broke
new ground: ‘It promoted the company brand instead of the
product brand, which was a revolutionary step at the time.’
I n t h e 19 6 0 s , t h e c h e m i c a l c o m p a ny h a d ove r 15 0
employees working solely on the firm’s advertising campaigns,
packaging and exhibition stands. Its large design team, which included
modernist pioneers such as Karl Gerstner and Herbert Leupin, worked in
collaboration with Armin Hofmann’s renowned Allgemeine Gewerbeschule
school in Basel. It became a real launch pad for many talented
local creatives, including Fred Troller, who worked in Geigy’s New York
bureau and went on to design posters for Exxon and American Airlines.
‘Geigy’s design team wanted to avoid a too narrow idea of style, and so
focused on the idea of “corporate diversity” as the basic principle of the
brand’s corporate identity,’ says Janser. And this is evident in the exhibition’s
varied displays, which include Gerstner’s Geigy Heute, a book featuring
infographics, bold colours and unjustified text (hardly known-of at the time);
Victor Vasarely’s Mitin poster (1947) with colourful tartan and typography; and
Max Schmid’s packaging for the Pertofran antidepressant (1962), with a black
and white ball-and-chain design that the user had to break to open the box.
 Richard
Paul
Lohse
Richard Paul Lohse (September 13, 1902, Zurich -
September 16, 1988, Zurich) was a Swiss painter and
graphic artist and one of the main representatives
of the concrete and constructive art.Richard Paul
Lohse was born in Zürich in 1902. The young Lohse
dreams of becoming a painter. However his wish to
study in Paris is thwarted due to his difficult economic
circumstances. In 1918 he joins the advertising agency
Max Dalang where he trains to be an advertising artist.
Lohse, the autodidact, paints expressive, late cubist
still lifes. In the 1930s his work as a graphic artist and
book designer puts him among the pioneers of modern
Swiss graphic design; in his painting he works on
curved and diagonal constructions.In 1937 Lohse, with
Leo Leuppi, cofounds Allianz, an association of Swiss
modern artists. In 1938 he helps Irmgard Burchard,
with whom he is married for a brief time, to organise the
London exhibition “Twentieth Century German Art”.
His political conviction leads him into the resistance
movement where he meets his future wife Ida Alis
Dürner.1943 marks a breakthrough in Lohse’s painting:
he standardises the pictorial means and starts to develop
modular and serial systems. In 1953 he publishes the book “New
Design in Exhibitions”, and from 1958 he is coeditor of the magazine
Neue Grafik /New Graphic Design. Important exhibitions and
publications bring Lohse’s systematic-constructive art and constructive
graphic design worldwide acclaim. He died in Zürich in 1988.
Richard Paul Lohse (September 13, 1902, Zurich - September 16, 1988, Zurich) was a Swiss painter and graphic artist and one of the main representatives
of the concrete and constructive art.Richard Paul Lohse was born in Zürich in 1902. The young Lohse dreams of becoming a painter. However his
wish to study in Paris is thwarted due to his difficult economic circumstances. In 1918 he joins the advertising agency Max Dalang where he trains to be
an advertising artist. Lohse, the autodidact, paints expressive, late cubist still lifes. In the 1930s his work as a graphic artist and book designer puts him
among the pioneers of modern Swiss graphic design; in his painting he works on curved and diagonal constructions.In 1937 Lohse, with Leo Leuppi,
cofounds Allianz, an association of Swiss modern artists. In 1938 he helps Irmgard Burchard, with whom he is married for a brief time, to organise the
London exhibition “Twentieth Century German Art”.
His political conviction leads him into the resistance movement where he meets his future wife Ida Alis Dürner.1943 marks a breakthrough in Lohse’s painting:
he standardises the pictorial means and starts to develop modular and serial systems. In 1953 he publishes the book “New Design in Exhibitions”, and from 1958 he is coeditor of the
magazine Neue Grafik /New Graphic Design. Important exhibitions and publications bring Lohse’s systematic-constructive art and constructive graphic design worldwide acclaim. He died in
Zürich in 1988.
Skill without imagination is craftsman-
ship and gives us many useful objects such
as wickerwork picnic baskets.Imagina-
tion without skill gives us modern art.
Tom Stoppard
Charles Ren-
nie Mackintosh,
2
Texttile Design,
C.1920
Much admired by the Vi-
ennese Secessionists, the
Scottish architect Mackin-
tosh pioneered a style of
decoration which anticipat-
ed the geometric purity of
Modernism.
Hans Swiss mod­ernist graphic designer Hans Neuburg

Neuburg
(1904 – 1983) is one of the pio­neers of the Inter­
na­tional Typo­graphic Style along with Brock­mann,
Crouwel, Aicher, Hof­mann, Casey. He’s left a col­lec­
tion of stel­lar work that includes this stun­ning poster
pic­tured here and as well as this diag­o­nal design.
1904-1983 This gallery con­tains some more of Hans’ excel­lent
poster work. He also authored the clas­sic design
books Mod­erne Werbe– und Gebrauchs­graphik.
Graphic Design in Swiss Indus­try Pub­lic­ity and Graphic
Design in the Chem­i­cal Indus­try and Con­cep­tions
of Inter­na­tional Exhi­bi­tion. Neuburg inizia la propria
attività nel 1930, in Svizzera, come copywriter. Nel 1932
cura le campagne pubblicitarie di alcune importanti
aziende di Basilea.[1] A partire dal 1933, e fino al
1938, cura la pubblicazione del periodico
Industriewerbung. Nel 1935 gli viene conferito un
premio per un manifesto del grande magazzino
zurighese Oscar Weber. Nel 1939 progetta il padiglione
per l’esposizione nazionale che si tiene nella città
di Zurigo. Sempre in questo periodo inizia l’attività
di critico d’arte per il quotidiano Dietat. Nel 1958
fonda assieme a Josef Müller-Brockmann, Richard
Paul Lohse e Carlo Vivarelli la rivista Neue Grafik.
Le pubblicazioni andranno avanti per 18 numeri,
dal settembre del 1958 fino al febbraio del 1965.
Obiettivi principali della rivista saranno quelli di
divulgare la nuova grafica moderna svizzera,
commentare opere influenti, e costituire un tavolo
di discussione per i principi spirituali e artistici
della grafica contemporanea. Nel 1963 diventa
vicepresidente della ICOGRADA (International
Council of Graphic Design Associations, concilio
che raggruppa associazioni nazionali di grafica
rappresentanti paesi di tutto il mondo) e riceve
un incarico presso la scuola di Ulm.Nello stesso
periodo è membro di giurie in alcune delle principali
rassegne di arti applicate.
Carlo
Vivarelli
Carlo Vivarelli was born on May 8th, 1919 in
Zurich, Switzerland. Vivarelli went to the art at
the School of Arts and Crafts in Zurich. In 1939,
he went to Paris to visit several art school and
spent some time with well known graphic artist,
Paul Colin. He mentioned that spending time with
Paul Colin was not of any great use. In 1946, he
was hired by Studio Boggeri in Milan as an art
director. A year after, he moved back to Zurich
to establish his own studio. In the 1950 he started
to paint. His work was exhibited in various
occasions in Zurich. In 1958, he took part along
side with Hans Neuburg and Richard Lohse in
the Konstruktive grafik exhibition at the Zurich
Kunstgewerbemuseum.Hans Neuburg compliment
his work ” consistency full of responsibility.
In 1960, he began to do sculpture. He is co-publisher
and co-editor of the graphic art review New Graphic
Design. His design, art and sculpture always look
precise. It’s a rare talent to be able conquer the
world of typography, painting and sculpture.
Carlo Vivarelli (Zurigo, 1919 – Zurigo, 1986) è
stato un designer e grafico svizzero.Esponente del
movimento Konkrete Kunst e della Scuola svizzera.
Ha impiegato fotografia, fotomontaggio e strumenti
tipografici per ottenere combinazioni di forme e
colori secondo un rigore matematico ispirato al
neocostruttivismo russo Dopo aver compiuto
il proprio apprendistato presso uno studio di grafica
a Zurigo, Vivarelli si trasferisce in Francia, a Parigi,
dove studia con Paul Colin. In seguito è in Italia, a
Milano, dove nel 1946 assume la direzione artistica
dello Studio Boggeri.
Ernst
Keller
Ernst Keller (1891 – 1968) is seen as the father
of the Swiss Style. He was a graphic designer,
lettering artist and teacher. From 1918 he taught
at the Zurich Kunstgewerbeschule (School of
Applied Art), where he developed a professional
course in design and typography. As a teacher
he was the most important single influence on
the development of the Swiss style. (Hollis, R.)
The economically drawn images and inventive
lettering of his posters designed in the 1920s and
30s made an important contribution to Modernism.
This is a poster by Ernst Keller for an exhibition
at the Zurich Kunstgewerbemuseum, from 1931.
Keller created a design system characterized by a
Ernst Keller uses the diagonal to catch the eye
rigid grid format, structured layout and unjustified
and to suggest some dynamic activity, a common
type. The core of these ideas were first presented
device at the time, but Keller’s poster is original in
in the book Grid Systems in Graphic Design by
its control of space and the integration of text.
his student Josef Muller-Brockmann.
Ernst Keller (1891 – 1968) is
seen as the father of the Swiss
Style. He was a graphic designer,
lettering artist and teacher. From
1918 he taught at the Zurich
Kunstgewerbeschule (School of
Applied Art), where he developed
a professional course in design
and typography. As a teacher
he was the most important single
influence on the development of
the Swiss style. (Hollis, R.) The
economically drawn images and
inventive lettering of his posters
designed in the 1920s and 30s
made an important contribution to
Modernism.This is a poster by Ernst
Keller for an exhibition at the Zurich
Kunstgewerbemuseum, from 1931.
Ernst Keller uses the diagonal to catch
the eye and to suggest some dynamic
activity, a common device at the Ernst Keller (1891 – 1968) is seen as the father of the Swiss Style. He
time, but Keller’s poster is original was a graphic designer, lettering artist and teacher. From 1918 he
in its control of space and the taught at the Zuric h Kunstgewerbesc hule (Sc hool of Applied
integration of text. Eenst Keller Art), where he developed a professional course in design and
seen as the father of the swiss typography. As a teacher he was the most important single influence
style. on the development of the Swiss style. (Hollis, R.) The economically
drawn images and inventive lettering of his posters designed
in the 1920s and 30s made an important contribution to Modernism.
 Emil
Ruder
The Swiss International Style was refined
at a design school in Basel, led by Armin
Hofman and Emil Ruder and alos in
Zurich under the leadership of Josef
Muller Brockmann.
Emil Ruder (1914–1970) was a
Swiss typographer and graphic
designer, who with Armin Hofmann
joined the faculty of the Schule für
Gestaltung Basel (Basel School of
Design).

Ruder was a contributing writer

and editor for Typografische
Monatsblätter. Ruder published
a basic grammar of typography
titled Emil Ruder: Typopgraphy.
The text was published in German,
English and French, by Swiss publisher
Arthur Niggli in 1967. The book
helped spread and propagate the
Swiss Style, and became a b a s i c
text for graphic design and typography
programs in Europe and North
America. In 1962 he helped to
found the International Center for the
Typographic Arts (ICTA) in New
York.
Swiss Style
The Swiss Style was defined by the
use of sans-serif typefaces, and
employed a page grid for structure,
producing symmetrical layouts.
Ruder first began teaching in 1942
at the Allgemeine Gewerbeschule in
the Swiss city of Basel. In 1948 Ruder met
the artist-printer Armin Hofmann. Ruder
and Hoffman began a long period of
collaboration. Their teaching achieved
an international reputation by the
mid-1950s. By the mid-1960s their
courses were maintaining lengthy
waiting lists.

The Swiss International Style was refined

at a design school in Basel, led by Armin
Hofman and Emil Ruder and alos in
Zurich under the leadership of Josef
Muller Brockmann.
Max Bill
As a designer and artist, Bill sought to create forms which
visually represent the New Physics of the early 20th century. He
sought to create objects so that the new science of form
could be understood by the senses: that is as a concrete
art. Thus Bill is not a rationalist -as is typically thought- but
rather a phenomenologist. One who understands embodiment
as the ultimate expression of a concrete art. In this way
he is not some much extending as re-interpreting Bauhaus
theory. Yet curiously Bill’s critical interpreters have not
really grasped this fundamental issue.He made spare geometric
paintings and spherical sculptures, some based on the
Möbius strip, in stone, wood, metal and plaster.His architectural
work included an office building in Germany, a radio studio in
Zurich, and a bridge in eastern Switzerland. He continued
to produce architectural designs, such as those for a museum of
contemporary art (1981) in Florence and for the Bauhaus
Archive (1987) in Berlin. In 1982 he also entered a competition
for an addition to the Neue Nationalgalerie in Berlin, built
to a design by Mies van der Rohe.Pavillon-Skulptur (1979–
83), a large granite sculpture, was installed adjacent to
the Bahnhofstrasse, Zürich in 1983. As is often the case
with modern art in public places, the installation generated
some controversy.
Armin Hofmann Armin Hofmann (HonRDI) is a Swiss
graphic designer. Hofmann followed
Emil Ruder as head of the graphic design
department at the Schule für Gestaltung
Basel (Basel School of Design) and was
instrumental in developing the graphic
design style known as the Swiss Style.
He is well known for his posters, which
emphasized economical use of colour
and fonts, in reaction to what Hofmann
regarded as the “trivialization of colour.
His posters have been widely exhibited
as works of art in major galleries, such
as the New York Museum of Modern
Art. He was also an influential educator,
retiring in 1987. In 1965 he wrote the Graphic
Design Manual, a popular textbook in
the field.
Akzidenz-Grotesk
The Akzidenz-Grotesk typeface became the most Contemporary versions of Akzidenz-Grotesk descend from a late-1950s project, directed by
frequently used in The New Typography, and Günter Gerhard Lange at Berthold, to enlarge the typeface family, adding a larger charac-
almost the norm in later Swiss graphic design. ter set, but retaining all of the idiosyncrasies of the 1898 face. Under the direction of Günter
It was liked for its clarity and precision, and Gerhard Lange, he had designed 33 font styles to the Akzidenz-Grotesk family, including
the designers mainly used it in its lowercase AG Extra (1958), AG Extra Bold (1966) and AG Super (1968), AG Super Italic (2001) and
form. Akzidenz-Grotesk is a grotesque (early Extra Bold italic (2001). In May 2006, Berthold announced the release of Akzidenz-Grotesk
sans-serif) typeface originally released by in OpenType format, under the name Akzidenz-Grotesk Pro. The Pro family offers extended
the Berthold Type Foundry in 1896 under language support for Central European, Baltic and Turkish as well as Welsh, archaic Danish
the name Accidenz-Grotesk. It was the first and Esperanto and is available in CFF PostScript OpenType. Berthold also released Akzi-
sans serif typeface to be widely used[citation denz-Grotesk Standard, which includes glyphs of Western European character set, in both
needed] and influenced many later neo-grotesque PostScript and TrueType flavored OpenType.In May 2007 Berthold announced the release
typefaces after 1950.Variants of Akzidenz- of Akzidenz-Grotesk Pro+, which includes Cyrillic and Greek characters.Akzidenz-Grotesk
Grotesk, showing the slight inconsistencies and and Georgia are the official fonts of the American Red Cross. Akzidenz-Grotesk is used on
idiosyncrasies between different weights and widths. the national logo and national guidelines require the font to be used on all chapter logos.
The design of Akzidenz-Grotesk was theorized All American Red Cross publications must be printed in Akzidenz-Grotesk or Georgia fonts.
to be derived from Walbaum or Didot, as Akzidenz-Grotesk is also the font used in Arizona State University brand logo.
demonstrated by the similar font metrics when
the serifs are removed. However, the font
family also included fonts made by other foundries,
such as the c. 1880 typeface Royal Grotesk Light
from the Berlin foundry Ferdinand Theinhardt
Schriftgiesserei, designed by Ferdinand
Theinhardt for the scientific publications of
the Royal Prussian Academy of Sciences in
Berlin. FTS also supplied the regular, medium
and bold weights of the typeface. While Hermann
Berthold took over Theinhardt’s Berlin foundry in
1908, it wasn’t until the fall of the Prussian monarchy
in 1918 that Royal Grotesk was published as
part of the Akzidenz-Grotesk font family and
renamed Akzidenz-Grotesk Condensed.
U Univers
Univers is the name of a realist sans-serif
typeface designed by Adrian Frutiger in 1954.
Originally conceived and released by Deberny
& Peignot in 1957, the type library was acquired
in 1972 by Haas. Haas’sche Schriftgiesserei
(Haas Type Foundry) was later folded into
the D. Stempel AG and Linotype collection in
1985 and 1989 respectively. Univers is one of a group
of neo-grotesque sans-serif typefaces, all released in
1957, that includes Folio and Neue Haas Grotesk
(later renamed Helvetica). These three faces are
sometimes confused with each other, because each
is based on the 1898 typeface Akzidenz-Grotesk.
These typefaces figure prominently in the Swiss Style
of graphic design.Different weights and variations
within the type family are designated by the use of
numbers rather than names, a system since adopted
by Frutiger for other type designs. Frutiger envisioned Univers is the name of a realist sans-serif Univers is the name of a realist sans-serif
a large family with multiple widths and weights that typeface designed by Adrian Frutiger in 1954. typeface designed by Adrian Frutiger in 1954.
maintained a unified design idiom. However, the Originally conceived and released by Deberny Originally conceived and released by Deberny
actual typeface names within Univers family include & Peignot in 1957, the type library was acquired & Peignot in 1957, the type library was acquired
both number and letter suffixes. in 1972 by Haas. Haas’sche Schriftgiesserei in 1972 by Haas. Haas’sche Schriftgiesserei
(Haas Type Foundry) was later folded into (Haas Type Foundry) was later folded into
the D. Stempel AG and Linotype collection in the D. Stempel AG and Linotype collection in
1985 and 1989 respectively. Univers is one of a group 1985 and 1989 respectively. Univers is one of a group
of neo-grotesque sans-serif typefaces, all released in of neo-grotesque sans-serif typefaces, all released in
1957, that includes Folio and Neue Haas Grotesk 1957, that includes Folio and Neue Haas Grotesk
(later renamed Helvetica). These three faces are (later renamed Helvetica). These three faces are
sometimes confused with each other, because each sometimes confused with each other, because each
is based on the 1898 typeface Akzidenz-Grotesk. is based on the 1898 typeface Akzidenz-Grotesk.
These typefaces figure prominently in the Swiss Style These typefaces figure prominently in the Swiss Style
of graphic design.Different weights and variations of graphic design.Different weights and variations
within the type family are designated by the use of within the type family are designated by the use of
numbers rather than names, a system since adopted numbers rather than names, a system since adopted
by Frutiger for other type designs. Frutiger envisioned by Frutiger for other type designs. Frutiger envisioned
a large family with multiple widths and weights that a large family with multiple widths and weights that
maintained a unified design idiom. However, the maintained a unified design idiom. However, the
actual typeface names within Univers family include actual typeface names within Univers family include
both number and letter suffixes. both number and letter suffixes.
Mode
rnism
No M o re Ru l e s
 Is Post
What
modernism?
for the most part has been a visual and decorative
movement. Many designers and design critics
contend that postmodernism, in the literary or
architectural sense of the term, never really
impacted graphic design as it did these other
fields. Alternatively, some argue that it did but
took on a different persona. This can be seen
in the work produced at Katherine McCoy’s
program at the Cranbrook Academy of Art in
Michigan during the late 1980s to late 1990s and
at the MFA program at CalArts in California.
But when all was said and done, the various
notions of the postmodern in the various design
fields never really stuck to graphic design as
it did with architecture. Some argue that the
“movement” (if it ever was one) had little to
no impact on graphic design. More likely, it
did, but more in the sense of a continuation
or re-evaluation of the modern. Some would
argue that this continuous re-evaluation is also just a
component of the design process - happening for
most of the second half of the 20th century in
the profession. Since it was ultimately the work
of graphic designers that inspired pop artists
like Warhol and Liechtenstein, and architects like
Robert Venturi and Denise Scott-Brown, it could
be argued that graphic design practice and
designs may be the root of Postmodernism.
Postmodernism in graphic design Graphic
design saw a massive popular raising at
the end of the seventies in form of Graffiti
and Hip Hop culture's rise. Graphic forms of
expression became a vast everyday hobby
among school kids all around the developed
western countries. Alongside this 'movement',
that took rebellious and even criminal cultural
forms, was born the mass hobby of coding
computer graphics. This phenomenon worked
as a stepping stone towards the graphic
infrastructure that is applied in the majority of
computer interfaces today. This Constructivist
poster uses arbitrary placement of geometric
shapes, a convention that would appear in
many postmodern graphic design pieces.
Postmodernism in graphic design Graphic
design saw a massive popular raising at
the end of the seventies in form of Graffiti
and Hip Hop culture’s rise. Graphic forms of
expression became a vast everyday hobby
among school kids all around the developed
western countries. Alongside this ‘movement’,
that took rebellious and even criminal cultural
forms, was born the mass hobby of coding
computer graphics. This phenomenon worked
as a stepping stone towards the graphic
infrastructure that is applied in the majority
of computer interfaces today.

Think punk, a few things may spring to
mind: mohicans, the Sex Pistols, sad looking
teenagers hanging around Camden market.
Graphic design may not be one of them. The
movement affected illustration, art and print
just as much as sales of tartan trousers. The
punk movement often used found material
to create their band promotion. The loose,
arbitrary collage approach woul later inspire
postmodernism artists.
The Punk
Punk aesthetics determine the type of art punks enjoy,
usually with underground, minimalistic, iconoclastic
and satirical sensibilities. Punk artwork graces album
covers, flyers for concerts, and punk zines.
Usually straightforward with clear messages,
punk art is often concerned with political
issues such as social injustice and economic
disparity. The use of images of suffering to
shock and create feelings of empathy in
the viewer is common. Alternatively, punk
artwork may contain images of selfishness,
stupidity, or apathy to provoke contempt in
the viewer. Much of the earlier artwork was in
black and white, because it was distributed in
zines reproduced at copy shops. Punk art also
uses the mass production aesthetic of Andy
Warhol's Factory studio. Punk played a hand
in the revival of stencil art, spearheaded by
Crass. The Situationists also influenced
the look of punk art, particularity that of the
Sex Pistols. Punk art often utilises collage,
exemplified by the art of Dead Kennedys,
Crass, Jamie Reid, and Winston Smith. John
Holmstrom was a punk cartoonist who created
work for the Ramones and Punk Magazine.
The Stuckism art movement had its origin
in punk, and titled its first major show
The Stuckists Punk Victorian at the Walker
Art Galler y during the 2004 Liverpool
Biennial. Charles Thomson, co-founder
of the group, described punk as "a major
breakthrough" in his art
Movement

Infiuences
Wolfgang Weingart
Wolfgang Weingart (born 1941 in the Salem
Valley in southern Germany) is an internationally
known graphic designer and typographer. His
work is categorized as Swiss typography and he
is credited as “the father” of New Wave or Swiss
Punk typography.Weingart spent his childhood in
Germany, moving briefly to Lisbon in 1954 with his
family. In April 1958 he returned to Germany and
began his studies at the Merz Academy in Stuttgart,
where he attended a two year program in applied
graphic arts. He learned typesetting, linocut and
woodblock printing.Weingart then completed a
three-year typesetting apprenticeship in hot metal
hand composition at Ruwe Printing. There he came
into contact with the company’s consulting designer,
Karl-August Hanke, who became his mentor and
encouraged him to study in Switzerland.
Weingart met Emil Ruder and Armin
Hofmann in Basel in 1963 and moved there
the following year, enrolling as an independent
student at the Schule für Gestaltung Basel (Basel
School of Design). In 1968, he was invited
to teach typography at the institution’s newly
established Weiterbildungsklasse für Grafik,
an international Advanced Program for Graphic
Design, where he remained a highly influential
instructor until 2005. Between 1974 and 1996,
at Hofmann’s invitation, Weingart taught at the
Yale Summer Program in Graphic Design in
Brissago, Switzerland. For over forty years he
has lectured and taught extensively in Europe,
North and South America, Asia, Australia and
New Zealand.
Postmodern
His work has been awarded a mark
of excellence by the Swiss Federal
Department of Home Affairs in Bern.
He was a member of the Alliance
Graphique Internationale (AGI) from
1978 to 1999, and served on the
editorial board of Typographische
Monatsblätter magazine from 1970
to 1988. In 2005 he was awarded
the honorary title of Doctor of Fine
Arts. In 2013 he was a recipient
of the AIGA Medal, the highest
honor of the design profession, for
his typographic explorations and
teaching. Weingart has taught and
lectured extensively in Australia,
Asia, Europe and North and South
America. According to Weingart,
“I took ‘Swiss Typography’ as my
starting point, but then I blew it
apart, never forcing any style upon
my students. I never intended to
create a ‘style’. It just happened
that the students picked up—and
misinterpreted—a so-called ‘Weingart
style’ and spread it around.”

April Greiman (born 10th September 1948) is a designer.
“Recognizedasoneofthefirstdesignerstoembracecomputer
technology as a design tool, Greiman is also credited, along
with early collaborator Jayme Odgers, with establishing
the ‘New Wave’ design style in the US during the late 70s
and early 80s.”Greiman heads Los Angeles-based design
consultancy Made in Space. Greiman first studied graphic
design in her undergraduate education at the Kansas City
Art Institute, from 1966-1970. She then went on to study at
the Allgemeine Künstgewerberschule Basel, now known as
the Basel School of Design (Schule für Gestaltung Basel)
in Basel, Switzerland (1970-1971). As a student of Armin
Hofmann and Wolfgang Weingart, she was influenced by
the International Style and by Weingart’s introduction to the
style later known as New Wave, an aesthetic less reliant on
Modernist heritage. Greiman moved to Los Angeles in 1976,
where she established the multi-disciplinary approach that
extends into her current practice, Made in Space.
April Greiman
During the 1970s, she rejected the belief among many con-
temporary designers that computers and digitalization would
compromise the International Style; instead, she exploited
pixelation and other digitization “errors” as integral parts of
digital art, a position she has held throughout her career. In
1982, Greiman became head of the design department at the
California Institute of the Arts.In 1984, she lobbied successfully
to change the department name to Visual Communications, as
she felt the term “graphic design” would prove too limiting to
future designers. In that year, she also became a student herself
and investigated in greater depth the effects of technology
on her own work. She then returned to full-time practice and
acquired her first Macintosh computer. ] She would later take
the Grand Prize in Mac World's First Macintosh Masters in
Art Competition. An early adopter of this computer, Greiman
produced an issue of Design Quarterly in 1986, notable in its
development of graphic design.
Entitled Does it make sense the edition
was edited by Mildred Friedman and
published by the Walker Art Center. She
re-imagined the magazine as a poster
that folded out to almost three-by-six feet. It
contained a life-size, MacVision-generated
image of her outstretched naked body
adorned with symbolic images and text— a
provocative gesture, which emphatically
countered the objective, rational and
masculine tendencies of modernist design.”
Miracle Manor, a desert spa retreat
owned with her husband, architect Mi-
chael Rotondi, is a showcase for her more
recent three-dimensional design of space in
natural landscapes.
In 1995, the U.S. Postal Service launched
a stamp designed by Greiman to com-
memorate the Nineteenth Amendment to
the United States Constitution (Women's
Voting Rights .In 2006, the Pasadena
Museum of California Art mounted a
one-woman show of her digital photogra-
phy entitled: Drive-by Shooting. She was
also recently in the group show at Centre
Georges Pompidou in Paris, in a major
exhibition Elle@Centre Pompidou.In 2007,
Greiman completed her largest ever work:
a public mural, "Hand Holding a Bowl
of Rice," spanning "seven stories of two
building facades marking the entrance to
the Wilshire
Vermont Metro Station in Los Angeles.”
This is a piece by April Greiman, who was
one of Wiengart's students and is known
to be one of the best female graphic
designers in history. She has created the
stepped approach by using expressive
lines and has also created a collaged effect
by layered certain elements on top of each
other. Another element of this piece that
reflects the Postmodern era is the sponta-
neous brush strokes that add flashes of
vibrant colours. The function of this poster is
to promote the 'China Club' (Nighclub) in
Los Angeles. Her approach is somewhat
simple but effective as it still manages to
convey a fun feeling.
Neville Neville Brody (born 23
April 1957 in London) is
an English graphic design-
er, typographer and art
director. Neville Brody is
an alumnus of the London
College of Printing and
Hornsey College of Art,
and is known for his work
on The Face magazine
(1981–1986) and Arena
magazine (1987–1990),
as well as for designing
record covers for artists
such as Cabaret Voltaire
and Depeche Mode. He
created the company
Research Studios in 1994
and is a founding mem-
ber of Fontworks. He is
the new Head of the Com-
munication Art & Design

Brody
department at the Royal
College of Art.
He was one of the founding members
of FontWorks in London and designed a
number of notable typefaces for them. He

Postmodern
wasalsopartlyresponsibleforinstigatingthe
FUSE project an influential fusion between a
magazine, graphics design and typeface
design. Each pack includes a publication
with articles relating to typography and
surrounding subjects, four brand new fonts
that are unique and revolutionary in some
shape or form and four posters designed
by the type designer usually using little
more than their included font. In 1990 he
also founded the FontFont typeface library
together with Erik Spiekermann.Notable
fonts include the updated font for the Times
newspaper, Times Modern, New Deal as
used in publicity material and titles for the Neville Brody (born 23 April 1957 in London) is an English graphic designer,
film Public Enemies and Industria. typographer and art director. Neville Brody is an alumnus of the London College
of Printing and Hornsey College of Art, and is known for his work on The Face
magazine (1981–1986) and Arena magazine (1987–1990), as well as for
designing record covers for artists such as Cabaret Voltaire and Depeche Mode.
He created the company Research Studios in 1994 and is a founding member of
Fontworks. He is the new Head of the Communication Art & Design department at
the Royal College of Art.
 David
Carson
David Carson (born September 8, 1954) is an
American graphic designer, art director and surfer.
He is best known for his innovative magazine design,
and use of experimental typography. He was the
art director for the magazine Ray Gun, in which
he employed much of the typographic and layout
style for which he is known. Carson was perhaps
the most influential graphic designer of the 1990s. In
particular, his widely imitated aesthetic defined the
so-called “grunge typography” era. Early life and
career Carson was born on September 8, 1954 in
Corpus Christi, Texas. He attended San Diego State
University, graduating with a Bachelor of Arts in
Sociology. Carson’s first contact with graphic design
was in 1980 at the University of Arizona during a
two week graphics course, taught by Jackson Boelts.
From 1982 to 1987, Carson worked asa teacher in
Torrey Pines High School in San Diego, California.
During that time, he was also a professional surfer,
and in 1989 he was ranked as the 9th best surfer
in the world. In 1983, Carson started to experiment
with graphic design and found himself immersed
in the artistic and bohemian culture of Southern
California. He attended the Oregon College of
Commercial Art. In 1995, Carson left Ray Gun to
found his own studio, David Carson Design, in New
York City.
He started to attract major clients from all over the
United States. During the next three years (1995–
1998), Carson was doing work for Pepsi Cola, Ray
Ban (orbs project), Nike, Microsoft, Budweiser,
Giorgio Armani, NBC, American Airlines and Levi
Strauss Jeans, and later worked for a variety of new
clients, including AT&T Corporation, British Airways,
Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota,
Warner Bros., CNN, Cuervo Gold, Johnson AIDS
Foundation, MTV Global, Princo, Lotus Software,
Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz,
MGM Studios and Nine Inch Nails. He, along with
Tina Meyers, designed the “crowfiti” typeface used
in the film The Crow: City of Angels. He named and
designed the first issue of the adventure lifestyle
magazine Blue, in 1997. David designed the first
issue and the first three covers, after which his
assistant Christa Smith art directed and designed
the magazine until its demise. Carson’s cover design
for the first issue was selected as one of the “top
40 magazine covers of all time” by the American
Society of Magazine Editors. In 2000, Carson
closed his New York City studio and followed his
children to He was also the art director of a spinoff
magazine, Transworld Snowboarding, which began
publishing in 1987. Steve and Debbee Pezman,
publishers of Surfer
He started to attract major clients from all over the
United States. During the next three years (1995–
1998), Carson was doing work for Pepsi Cola, Ray
Ban (orbs project), Nike, Microsoft, Budweiser,
Giorgio Armani, NBC, American Airlines and Levi
Strauss Jeans, and later worked for a variety of new
clients, including AT&T Corporation, British Airways,
Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota,
Warner Bros., CNN, Cuervo Gold, Johnson AIDS
Foundation, MTV Global, Princo, Lotus Software,
Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz,
MGM Studios and Nine Inch Nails. He, along with
Tina Meyers, designed the “crowfiti” typeface used
in the film The Crow: City of Angels. He named and
designed the first issue of the adventure lifestyle
magazine Blue, in 1997. David designed the first
issue and the first three covers, after which his
assistant Christa Smith art directed and designed
the magazine until its demise. Carson’s cover design
for the first issue was selected as one of the “top
40 magazine covers of all time” by the American
Society of Magazine Editors. In 2000, Carson
closed his New York City studio and followed his
children to He was also the art director of a spinoff
magazine, Transworld Snowboarding, which began
publishing in 1987. Steve and Debbee Pezman,
publishers of Surfer
Jamie Reid
Reid took side with the rebellion in the 70's,
leading to 'anarchy' and the punk scene which
came from the decade, by ripping out the Queen's
eyes and mouth and replacing it with ironic Sex
Pistols lyrics. This is appropriate for the era and
since has become an iconic poster globally. It's
post-modern design is clear in comparison to the
modernist era. This poster is experimental, daring
to the modernists, through the use of different sized
fonts at different angles, and not being produced
in a strict format with boundaries and guidelines
on only using Helvetica and conforming to the
International Typographic Style, postmodernists
were breaking away from.

God Save The Queen

Poster 1977
Nothing is set out on a grid format,
and it relates to more political issues,
looking at social class and wealth,
which were issues at the time also.
However, not everyone believes that issues
can be solved through that experimental
medium. Massimo Vignelli believes that,
"The followers of the Post-modernist are
gone, reduced to caricatures of the re-
cent past" summarising how everything
that Post-modern designers have creat-
ed, has only helped improve the Mod-
ernist designers. I really like this poster
design, however, it wouldn't work well
in the current decade, but at the time
would of been powerful for the scene's
followers.
Art Chantry
Arthur Samuel Wilbur Chantry II (born
April 9, 1954 in Seattle) is a graphic
designer often associated with the
posters and album covers he did for
bands from the Pacific Northwest, such
as Nirvana, Hole and The Sonics.He is
also notable for his work in logo design.
Chantry designed the cover for Some
People Can't Surf, which was written by
Julie Lasky. Chantry advocates a low-
tech approach to design that is informed
by the history of the field. His work has
been exhibited at the Rock and Roll Hall
of Fame Museum of Modern Art, Seattle
Art Museum, the Smithsonian and the
Louvre.Chantry received a bachelor's
degree from Western Washington
University in 1978.

Art Chantry is a Northwestern graphic

designer whose lo-fi, high contrast
designs have influenced a generation
or two of poster artists. He rose to
prominence in Seattle, first at The
Rocket and then through his posters for
bands big and small, including Nirvana,
Gang of Four and many many others.
Chantry really pioneered the use of
mistakes, misprints, "low" visual culture
and found imagery in graphic design.
Never slick and easy, always throwing
a wrench in the works, Chantry traffics
in uncompromising beauty and he's held
onto analog techniques and ideologies
all these years. I'm thrilled to have Art's
writing on this site, as well as his posters.
For a fun memoir of Art, see Norman
Hathaway's piece
Barbara

Kruger
Barbara Kruger (born January 26, 1945)
is an American conceptual artist. Much
of her work consists of black-and-white
photographs overlaid with declarative
captions—in white-on-red Futura Bold
Oblique or Helvetica Ultra Condensed.
The phrases in her works often include pronouns such
as “you”, “your”, “I”, “we”, and “they”. Kruger lives
and works in New York and Los Angeles.Career in
magazine designKruger was born into a lower-middle-
class family in Newark, New Jersey. Her father worked
as a chemical technician, her mother as a legal secretary.
She graduated from Weequahic High School.After
attending Syracuse University and studying art and
design with Diane Arbus and Marvin Israel at Parsons
School of Design in New York, Kruger obtained a design
job at Condé Nast Publications. She initially worked as
a designer at Mademoiselle Magazine and later moved
on to work part time as a picture editor at House and
Garden, Aperture, and other publications.[5] In her early
years as a visual artist, Kruger crocheted, sewed and
painted bright-hued and erotically suggestive objects,
some of which were included by curator Marcia Tucker
in the 1973 Whitney Biennial. From 1977, Kruger worked
with her own architectural photographs, publishing an
artist’s book, “Picture/Readings”, in 1979.
The tourism poster has a direct connection with the Postmodern
age. World renowned designer, Paula Scher created a magazine
advertisement for the Swatch company in 1985 (see below)
which was almost an exact recreation Matter's original 1935 poster.
"Matter's poster demonstrates the Constructivist" typophoto"
technique of postioning a phot of a person floating at the top of
the image and looking in the distance. While experienced
graphic designers undoutedly recognized the playfull irony
of Scher’s appropriation of the Swiss poster, the average
reader of Mademoiselle magazine where it briefly appeared, would
be unlikely to be aware of the image’s antecedents. Scher was
publicly criticized for taking the image out of context and parodying
it, as some designers saw this type of close copying of an original as
close to constituting plagiarism it is quite possible that Scher’s critics
simply lacked a sense of humour.
 The tourism poster has a direct connection with the Postmodern
age. World renowned designer, Paula Scher created a magazine

Paula Scher
advertisement for the Swatch company in 1985 (see below)
which was almost an exact recreation Matter's original 1935 poster.
"Matter's poster demonstrates the Constructivist" typophoto"
technique of postioning a phot of a person floating at the top of
the image and looking in the distance. While experienced
graphic designers undoutedly recognized the playfull irony
of Scher’s appropriation of the Swiss poster, the average
reader of Mademoiselle magazine where it briefly appeared, would
be unlikely to be aware of the image’s antecedents. Scher was
publicly criticized for taking the image out of context and parodying
it, as some designers saw this type of close copying of an original as
close to constituting plagiarism it is quite possible that Scher’s critics
simply lacked a sense of humour.

The tourism poster has a direct connection with the Postmodern

age. World renowned designer, Paula Scher created a magazine
advertisement for the Swatch company in 1985 (see below)
which was almost an exact recreation Matter's original 1935 poster.
"Matter's poster demonstrates the Constructivist" typophoto"
technique of postioning a phot of a person floating at the top of
the image and looking in the distance. While experienced
graphic designers undoutedly recognized the playfull irony
of Scher’s appropriation of the Swiss poster, the average
reader of Mademoiselle magazine where it briefly appeared, would
be unlikely to be aware of the image’s antecedents. Scher was
publicly criticized for taking the image out of context and parodying
it, as some designers saw this type of close copying of an original as
close to constituting plagiarism it is quite possible that Scher’s critics
simply lacked a sense of humour.
Reza Abedini, (born 1967 in Tehran) is an Iranian designer
and a professor of graphic design and visual culture at

Reza
Tehran University.Abedini is one of the most famous graphics
designer in Iran because of his modern Persian typography.
He combined modern and traditional themes in his unique
style.His design influences include Aleksander Rodchenko, The award also focuses attention on the diversity of both
Ikko Tanaka, Sani'ol Molk Ghafari, Roman Cieslewicz and the historical and the modern Iranian culture, recognizing
Mirza Gholam-Reza Esfahani.Reza Abedini has won dozens the impact of graphic design as an influential international

Abedini
of national and international design awards. In 2006 Abedini
received the Principal Prince Claus Award in recognition of
his personal creativity in the production of special graphic
designs, as well as for the personal manner in which he
applies and redefines the knowledge and accomplishments
of Iran’s artistic heritage, thus making them highly interesting.
means of communication. He is a member of the Iranian
Graphic Designers Society (IGDS) since 1997, and the
prestigious Alliance Graphique Internationale (AGI) since
2001. Abedini was a member of jury at several biennials
throughout the world. His name is listed in Meggs' History
of Graphic Design, as one of the world's outstanding post
digital designers.
 i-D
i-D is a British magazine dedicated to fashion, music, art and
youth culture. i-D was founded by designer and former Vogue
art director Terry Jones in 1980. The first issue was published
in the form of a hand-stapled fanzine with text produced on a
typewriter. Over the years the magazine evolved into a mature
glossy but it has kept street style and youth central to every
issue.The magazine is known for its innovative photography
and typography, and over the years established a reputation as
a training ground for fresh talent. Photographers Nick Knight,
Wolfgang Tillmans, Juergen Teller, Terry Richardson, Klaus
Thymann, Ellen von Unwerth, and Kayt Jones have produced
work for i-D. The magazine celebrated its 250th edition at the
end of 2004 and its 25th anniversary in 2005. The July Issue
of 2009 was the magazines 300th publication, boasting many
interesting articles and iconic photography, true to the magazines
concept. The content, focused mainly on ideas from past issues
and bringing these ideas into 2009. Raquel Zimmerman was the
covergirl for this edition.The magazine pioneered the hybrid style
of documentary/fashion photography called The Straight Up. At
first, these were of punks and New Wave youth found on English
streets and who were simply asked to stand against any nearby
blank wall. The resulting pictures the subjects facing the camera
and seen from “top to toe”are a vivid historical documentary
photography archive, and have established the posed “straight
up” as a valid style of documentary picture-making.
 The
Face
The Face was a British music, fashion and culture
monthly magazine started in May 1980 by Nick
Logan.1980sLogan had previously created the teen pop
magazine Smash Hits, and had been an editor at the
New Musical Express in the 1970s before launching The
Face in 1980.The magazine was influential in showcasing
a number of fashion, music, and style trends of youth
culture including New Romantic, and the “Hard Times”
look of the mid-1980s.From 1981 to 1986, Neville Brody
was typographer, graphic designer, and art director
of the magazine.1990s In 1992, the magazine ran an
article which contained a reference to the supposed
sexual orientation of the Australian actor and pop star
Jason Donovan. Donovan sued the magazine for libel
in 1992 and won the case Subsequently, the magazine
requested donations from readers to pay the substantial
libel damages and court costs which came to £300,000.
Cover featuring David LaChapelle photo of Gisele
Bündchen The magazine set up the “Lemon Aid” fund—
supposedly so-called because the original article on
Donovan had stated that he treated his hair with lemon
juice in order to make it blonder. Donovan reached a
settlement with the magazine which allowed it to stay in
business.Its best selling period was in the mid-1990s when
editor Richard Benson brought in a team that included art
director Lee Swillingham. Benson ensured the magazine’s
written content reflected developments in music, art and
fashion whilst Swillingham changed the visual direction
of the magazine to showcase new photography,
commissioning work by Stéphane Sednaoui, Inez Van
Lamsweerde, Steven Klein, David LaChapelle, Norbert
Schoerner, Glen Luchford, Henry Bond, Craig McDean
and Elaine Constantine. In 1999, Wagadon was sold the
title to the publishing company EMAP.
Notable names associated with the magazine were designer & typographer Neville
Brody (Art Director, 1981–86), creative director Lee Swillingham (Art Director
1993-1999), Craig Tilford (Art Directior 1999-2002), Graham Rounthwaite (Art
Director 2002-2003), Julie Burchill, Tony Parsons, photographers Juergen Teller,
David Sims and writers including Jon Savage, Fiona Russell Powell and James
Truman, subsequently editor of Details in the US and editorial director for Condé
Nast in the US. By the time of its May 2004 closure, monthly sales had declined
and advertising revenues had consequently reduced. Publishers EMAP closed the
title in order to concentrate resources on its more successful magazines. In an ironic
twist, Jason Donovan led a consortium that made an abortive approach to EMAP
to save the title prior to its closure
Ray Gun
Ray Gun was an American alternative rock-and-roll magazine, first published
in 1992 in Santa Monica, California. Led by founding art director David
Carson, Ray Gun explored experimental magazine typographic design.
The result was a chaotic, abstract style, not always readable, but distinctive
in appearance. That tradition for compelling visuals continued even after
Carson left the magazine after three years; he was followed by a series of
art directors, including Robert Hales, Chris Ashworth, Scott Denton-Cardew,
and Jerome Curchod. In terms of content, Ray Gun was also notable for its
choices of subject matter. The cutting-edge advertising, musical artists and
pop culture icons spotlighted were typically ahead of the curve, putting such
artists as Radiohead, Björk, Beck, Flaming Lips, PJ Harvey and Eminem[on its
cover long before its better-known competitors. Those choices were guided
by Executive Editor Randy Bookasta and an editorial staff that included
Dean Kuipers, Nina Malkin, Mark Blackwell, Joe Donnelly, Grant Alden,
Mark Woodlief, and Eric Gladstone. Ray Gun produced over 70 issues from
1992 through 2000. Owner-founder-publisher Marvin Scott Jarrett (one-time
publisher of a late-1980s incarnation of Creem) also created the magazines
Bikini, Stick and huH. Jarret is currently editor-in-chief of Nylon, a New
York-based fashion magazine.The most notable common thread among all
of Jarrett’s magazines (from his latter-day Creem through Nylon) has been
an attraction to dynamic next-generation graphic design.
New Graphic Design
Neue Grafik
Die Neue Grafik In 1959 four zürich-based graphic designers launched the
first issue of Neue Grafik magazine. A Magazine devoted to the Swiss style
of design and typography. The team of editors constisted of Richard Paul
Lohse, Josef Müller-Brockmann, Hans Neuburg and Carlo Vivarelli. The
team signed some of their jointly written articles with the acronym "lmnv",
formed from their initials. “Neue Grafik” epitomizes Swiss typography of
the 1950s. It was the new age manifesto for the design world and it was
seminal in its influence on international graphic design after WWII. The
publication of the magazine proved an international success making the
Swiss Style the International Typographic Style.
The
Grid The typographic grid

System
Such a system of arrangement compels the designer to be honest in his use of
design resources. It requires him to come to terms with the problem in hand and
to analyse it. It fosters analytical thinking and gives the solution of the problem
a logical and material basis.A suitable grid in visual design makes it easier a)
to construct the argument objectively with the means of visual communication,
b) to construct the text and illustrative material systematically and logically, c)
to organize the text and illustrations in a compact arrangement with its own
J.Muller-Brockmann rhythm, d) to put together the visual material so that is is readily intelligible
1968- Niggli Verlag and structured with a high degree of tension.

Modern typography is based primarily

on the theories and principles of design
evolved in the 20s and 30s of our century.
It was Mallarmé and Rimbaud in the 19th
century and Apollinaire in the early 20th
century who paved the way to a new
understanding of the possibilities inherent
in typography and who, released from
conventional prejudices and fetters,
created through their experiments the
basis for the pioneer achievements of
the theoreticians and practitioners that
followed. The principle of the grid system
presented in this book was developed and
used in Switzerland after World War II.
(ibid.)But there was no publication that
showed how the grid was constructed and
applied, let alone how the design of the
grid system was to be learned. This book
is an attempt to close the gap.
Grid
1. Paper size.
This is one of the easiest ways to create a balanced grid. By using the size of the
paper as a guide we can divide using ratio to begin creating the grid. you can see
through diagrams 1-6 simply layering division upon division to slowly build up the
grid.
Now we can begin to experiment with type areas, shapes and composition. we can
explore how type and image will work together on the various types of pages our
publication will have.

Diagram 7 shows the text area with the first elements of the access structure- runnung
heads and folios. Diagram 8 and 9 show how adaptable the grid is to various design
options.
 For this grid, we’re going to use the ratio of the page to define the main
text, or content, area of the pages. There’s a very simple way of reducing
this page size down to make sure the ratio is correctly placed and balanced.
See diagram.

Shaping the page

Applying the Golden Section

Now you’ve read the other articles you will see that applying the ratio to
this area is pretty straight forward. The area is divided using Phi which gives
us two columns, A and B.
Creating the system

So, we’ve got the columns, we now need to flesh out the grid to be able to
cope with the different content and page types. First off, we extend the lines
of the content area and the columns

We then apply a horizontal rule cutting across content area creation lines.
I call these ‘hanging lines’, not too sure what the correct terminology is.
But anyway, the content ‘hangs’ from these lines giving us consistency
throughout the book. It gives the reader a line, in the same place, to rest
their eyes on page after page.
Using the extended lines we can then add areas for the access structure of
the book—folios etc. These typically sit outside of the content area, usually
with plenty of white space around them, as to show that they are different
‘types’ of content.
Masthead
 Masthead Design

NGD NGD
Form

NGD
New Graphic Fallow
Design Function

Form Fallow Function

Form Fallow Function

Form
Fallow
Function

New Graphic New Graphic

Design
New Graphic Design New
Design Graphic
Design

Form Fallow Function

Form Fallow
Function
Form Fallow Function
Form Fallow Function
 New Graphic
New Graphic
NGD
New Graphic Design Design
Design
Form Fallow Function

Form
Fallow
Function
Form Fallow
Function Form
Fallow
Function

New Graphic Design New New New Graphic

Design
Graphic Graphic
Design
Design
n Form
io
l l ow Funct Fallow
Fa
Form Function

Form
Form Fallow Function Fallow
Function
 Masthead
New Deign
Graphic
New
Graphic
Deign
New
Graphic Deign
New

Graphic
New
Graphic
Deign Deign
 New

Graphic
New Deign
Graphic New

Graphic
Deign

Deign
New
Graphic

New New Deign

Graphic
Graphic

Deign Deign
NG N N N
D G G GD
D D
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GD G
ND GD
NGD D
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N D NGD G
G ND
G G N
N ND GD
N
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GD GD
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GD GD GD
 Neue Grafik Neue Grafik
New Graphic Design New Graphic Design

Neue Grafik
New Graphic Design
Neue Grafik
New Graphic Design

Neue Grafik
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ue esign
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Neue Grafik
Neue Grafik New Graphic Design
New Graphic Design
 Neue Grafik Neue Grafik Neue Grafik
New Graphic Design New Graphic Design New Graphic Design
Graphisme actuel Graphisme actuel
Graphisme actuel

n
s ig
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G aph ac
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N ew h
N rap
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Neue Grafik Neue Grafik Neue Grafik Neue Grafik

New Graphic Design New Graphic Design New Graphic Design New Graphic Design
Graphisme actuel Graphisme actuel Graphisme actuel Graphisme actuel
Magazine Cover Design
Final Magazine Cover Design
Magazine Inner Pages Design
MODERN ARCHITECTURE

Here are some inner magazine design

i have done. I would like to keep my
design simple.During my reaserches
about Modernism and Postmodernism
i really liked Modernism it has some
rules to it and in my opinion it would
looks better for designing magazine.
Because of this reason i am also going
to keep my magazine Modern Style. I
will be do some research about modern
architecture, fashtion and alos some artist
sresearch who are modern and different.
Magazine Inner Pages Design
Historical Buildings
Magazine Inner Pages Design
MODERN FASHION DESIGN