In his work and in his teaching, __________ sought a dynamic harmony through which all the parts of a design were unified. He saw the relationship of
contrasting elements as the means of breathing life into a visual design. These
contrasts included light to dark, curved lines to straight lines, form to counterform, and dynamic to static. He began teaching at the Basel School of Design in 1947, after completing his education in Zurich, Switzerland, and working as a staff designer for several studios. At the same time he opened a design studio in collaboration with his wife. He applied a deep sense of aesthetic values and understanding of form to both teaching and designing. He evolved a design philosophy based on the elemental graphic-form language of point, line, and plane. His work includes the logotype for the Stadt Theater Basel (Basel Civic Theater), 1954; the poster for the Basel Theater's production of
Giselle,1959; and the trademark for the Swiss National Exhibition, Expo 1964.
In 1947, Armin Hofmann began teaching graphic design at the _____________, and together with Emil Ruder, he developed an educational model linked to the elementary design principles of the Vorkurs (Preliminary Course) established in 1908. The same year, he opened a design studio in collaboration with his wife, Dorothea, where he applied deep aesthetic values and understanding of form to both teaching and designing. As time passed, he evolved a design philosophy based on the elemental graphic-form language of point, line, and plane, replacing
traditional pictorial ideas with a modernist aesthetic. In 1965, he published Graphic Design Manual, a
book that presents his application of elemental design principles to graphic design.