The Start of Simplicity: Swiss Style

Ernst Keller, lovingly known as the “father of Swiss design.” The year is 1918 and Keller just received a teaching position at the Kunstgewerbeschule (literally translated “arts and crafts school”) in Switzerland. His teachings mark the beginning of the grid systems for which Swiss Style is known, and his belief that design should adapt to content placed focus on the importance of typefaces. Little did Keller know, some of his students would become the forefront runners in the creation of the International Typographic Style movement. Shall we call them the sons of Swiss Style? (Swiss Style PrintMag) Poster designs by Ernst Keller (via MOMA ) Budrick, Callie. “Swiss Style: The Principles, the Typefaces & the Designers.” PRINT , PRINT, 16 Sept. 2020, www.printmag.com/post/swiss-style-principles-typefaces-designers.

Max Bill and Otl Aicher opened their own school in Ulm, Germany. Bill, who is known not only for his work as a designer, but also for his theoretical writings and connection to the Modern Movement, is often thought of as the most “decisive influence on Swiss graphic design.” His school in Ulm included courses in semiotics, or the study of signs and symbols. These teachings fell into step with the objectivity and readability of the International Typographic Style, which aims to create content that is easily recognized and understood by anyone who views it. (Swiss Style PrintMag) Bill is widely considered the single most decisive influence on Swiss graphic design beginning in the 1950s with his theoretical writing and progressive work. His connection to the days of the Modern Movement gave him special authority. As an industrial designer, his work is characterized by a clarity of design and precise proportions. Examples are the elegant clocks and watches designed for Junghans, a long-ter

Adrian Frutiger, one of the most influential typeface designers of the 20th century, created Univers in 1954, released in 1957.  Univers is a sans-serif typeface that served to update the almost 50 year old Akzidenz Grotesk. What made Univers such an important milestone is that it was the first megafamily typeface. Rather than coming in the usual three fonts—regular, italic and bold—it came in no fewer than 21 different weights, each labeled by a different number. This variety resulted in unprecedented flexibility for designers, who were now able to design an entire project using various fonts of a single typeface, rather than having to use a variety of typefaces in order to get all of the weights they wanted. This move turned designers’ attention to the possibilities of single typefaces in a completely new way. The path to Helvetica and Swiss Design dominance was set. (Swiss Design 99Designs) Univers via Meggs' Bigman, Alex. “What Exactly Is Swiss Design, Anyway?” 99designs , 99de

Armin Hofmann, along with Emil Ruder, founded the Schule für Gestaltung (School of Design) in 1947. Hofmann began teaching and was often regarded as unorthodox in his ways. Much of his work focused on elements of graphic form while remaining simple and objective. His compositions, having been influenced by Ernst Keller’s teachings, often made use of typography over illustration. Hofmann’s curriculum has been somewhat adapted, yet is still taught today at the School of Design in Basel, Switzerland. (Swiss Style PrintMag) Over in Basel, Armin Hofmann was exploring a similar but nonetheless distinctive approach. His work gives even greater weight to typography and employs striking tonal contrasts. Hoffman held a teaching appointment at Yale University in the mid 1950s, and was instrumental in bringing the Swiss style to the United States. (Swiss Design 99Designs) Work by Armin via PrintMag Bigman, Alex. “What Exactly Is Swiss Design, Anyway?” 99designs , 99designs, 24 Jan. 2020, 99designs