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history of gd ch 18

Terms in this set (14)

During the 1950s, a design movement emerged in Switzerland and Germany that has been called Swiss design or, more appropriately, the __________. The
visual characteristics of this design movement include visual unity of design
achieved through the asymmetrical organization of the design elements on a
mathematically constructed grid; objective photography and copy that present visual and verbal information in a clear and factual manner, free from the
exaggerated claims of much propaganda and commercial advertising; and sans-serif typography set flush left, ragged right. The initiators of this movement believed sans-serif typography expressed the spirit of a progressive age and that mathematical grids were the most legible and harmonious means for structuring
information. This design movement won converts throughout the world and
remained a major force for over two decades, and its influence continues.
International Typographic Style
The emerging Swiss design gained its alphabetical expression in several sans-
serif type families designed in the 1950s. The geometric sans-serif styles,
mathematically constructed with drafting instruments during the 1920s and 1930s, were rejected in favor of new designs inspired by nineteenth-century Akzidenz Grotesk fonts. One of the new typefaces designed during this period was _____________, which was created as a palette of twenty-one visually related fonts. All twenty-one have the same x-height and baseline, and all ascenders and descenders are the same length. Numbers replaced conventional nomenclature.
Univers
__________ was the designer of the typeface mentioned in the preceding
question, which was created as a palette of twenty-one visually-related fonts that
all have the same x-height and baseline and whose ascenders and descenders
are the same length.
Adrian Frutiger
Another new sans-serif was released as Neue Haas Grotesk by Edouard
Hoffman and Max Miedinger. 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 Switzerland.
Helvetica
More important than the visual appearance of Swiss design is the attitude developed by early pioneers about their profession. Which of the following statements does NOT belong?
Ornamentation was prized for its decorative quality.
A native of Nuremberg, Germany, _____________ apprenticed as a photo
retoucher and studied calligraphy after he acquired a copy of Rudolph Koch's
book Das Schreiben als Kunstfertigkeit(Writing as an Art Form). He became a freelance book designer and typographic designer, and at age twenty-two the first of his more than fifty typefaces was designed and cut for Stempel foundry. He developed an extraordinary sensitivity to letterforms in his activities as a calligrapher, typeface designer, typographer, and graphic designer. He viewed typeface design as "one of the most visible visual expressions of an age." He designed Palatino in 1950, Melior in 1952, and Optima in 1958.
Hermann Zapf
___________ was a leading design theorist and practitioner in Zurich,
Switzerland. He sought absolute and universal graphic expression through an
objective and impersonal presentation, communicating to the audience without
the interference of the designer's subjective feelings or propagandistic
techniques of persuasion, as in his 1960 public awareness poster "Weniger
Lärm" ("Less Noise"). In his celebrated concert posters, like the "Musica Viva"
concert poster of 1972, the language of constructivism created a visual
equivalent to the structural harmony of the music to be performed. He worked
extensively with mathematical grid structures. His 1960 exhibition poster "der Film" demonstrates the universal design harmony achieved by mathematical spatial division.
Josef Müller-Brockman
The _____________has a three-to-five ratio. A rectangle with this ratio was
considered by the ancient Greeks to be the most beautifully proportioned
rectangle.
golden mean
In 1950, Max Bill became involved in developing the graphic design program at the Institute of Design Institute in Ulm, Germany, which attempted to establish a center for research and training to address the design problems of the era. Otl Aicher, one of the Ulm cofounders, played an important role in establishing the graphic design program, and Anthony Froshaug set up the typography workshop. The curriculum included a study of __________: the general philosophical theory of signs and symbols.
semiotics
Particularly innovative in photography, photomontage, and darkroom
manipulation of images, visual pattern and form were explored in____________'s close-up photographs of common objects, whose texture and
detail were transformed into abstract images. Ideas about color and form from his paintings often found their way into his graphic designs; conversely, wide-ranging form experimentation in search of design solutions seems to have provided shapes and compositional ideas for his fine art. After the war, his work started to crystallize into what was to become his major contribution to graphic design: the creation of visual forms to communicate invisible processes and physical forces
Anton Stankowski
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.
Armin Hofmann
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.
Basel School of Design in Basel, Switzerland
Siegfried Odermatt played an important role in applying the International
Typographic Style to the communications of business and industry. He combined a succinct, efficient presentation of information with a dynamic visual quality, using straightforward photography with drama and impact. Ordinary images were
turned into convincing and engaging photographs through the careful use of
cropping, scale, and lighting, with attention to shape and texture as qualities that cause an image to emerge from the page. In the early 1960s, _________joined Odermatt. They loosened the boundaries of the International Typographic Style and introduced elements of chance, the development of surprising and
inventive forms, and intuitive visual organization into the vocabulary of graphic design. This phase of the studio's development marked the beginning of a break with the traditions of Swiss design
Rosmarie Tissi
The Swiss style was embraced in American corporate and institutional graphics
during the 1960s and remained a prominent aspect of American design for over
two decades. A notable example was found in the graphic design office at the
Massachusetts Institute of Technology (MIT). In the early 1950s, MIT established
a
graphic design program enabling all members of the university community to
benefit from free, professional design assistance on their publications and
publicity materials. This was an early recognition of the cultural and
communicative value of design by an American university. MIT based its graphic
design program on a commitment to the grid and sans-serif typography. The staff
was innovative in the use of designed letterforms, and manipulated words as
vehicles to express content. This approach evolved in the work of ___________,
the director of the Design Services Office. Letterforms became illustrations, for
the design and arrangement of the letters in key words frequently became the
dominant image, as in the 1974 poster for an MIT open house in which stencil
letterforms announce the open house, and the open O does double duty as a
concrete symbol of the opening of the campus to visitors.
Jacqueline Casey
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