A graphic design technique based on grid-work that began in the 19th century became inspiration for modifying the foundational course at the School of Design in 1908. Shortly thereafter, in 1918 Ernst Keller became a professor at the Zurich School of the Applied Arts (Kunstgerbeschule) and began developing a graphic design and typography course. He did not teach a specific style to his students, rather he taught a philosophy of style that dictated the solution to the design problem should emerge from its content. The format of the journal represented many of the important elements of the style and was published internationally, thus spreading the movement beyond Switzerland s borders. One of the editors, Josef Müller-Brockmann, sought an absolute and universal form of graphic expression through objective and impersonal presentation, communicating to the audience without the interference of the designer s subjective feelings or propagandistic techniques of persuasion. Many of Müller-Brockmann s feature large photographs as objective symbols meant to convey his ideas in particularly clear and porful ways. The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element, and it is for this that the style is named. Two major Swiss design schools are responsible for the early years of International Typographic Style. Keller s work uses simple geometric forms, vibrant colors and evocative imagery to further elucidate the meaning behind each design. Other early pioneers include Théo Ballmer and Max Bill. The 1950s saw the distillation of International Typographic Style elements into san-serif font families such as Univers. Univers paved the way for Max Miedinger and collaborator Edouard Hoffman to create the font Neue Haas Grotesk, more commonly known as Helvetica. The movement began to coalesce after a periodical publication began in 1959 titled New Graphic Design, which was edited by several influential designers who played major roles in the development of International Typographic Style.
The International Typographic Style, The 1950s saw the also known as the distillation of International Typograph- Swiss Style, is a graphic design style developed in Swit-izerland in the 1950s Style elements into that emphasizes san-serif font families cleanliness, read-sucability and objec- as Univers. Univers tivity. Hallmarks of paved the way for Max the style are asym-miedingemetric layouts, use and collaborator Edouard Hoffman of a grid, sans-serif typefaces like Akzi-tdenz Grotesk, and create the font Neue flush left, ragged Haas Grotesk, more right text. The style commonly known as is also associated with a preference Helvetica. The movement began to coalesce for photography in place of illustrations or drawings. after a periodical publication began in 1959 Many of the early International Typographic Style works titled New Graphic De- which was edited featured typogra-signphy as a primary design element, by several influential and it is for this that designers who played the style is named. Two major Swiss major roles in the development of International design schools are responsible for the early years of Inter-Typographinational Typograph-format of the jour- Style. The ic Style. A graphic design technique nal represented many based on grid-work of the important ele- of the style and that began in the 19th century be-mentcame inspiration was published internationally, thus spreading for modifying the foundational course at the School of the movement beyond Design in 1908. Shortly thereafter, Switzerland s borders. in 1918 Ernst Keller One of the editors, Josef Müller-Brockmann, became a professor at the Zurich School of the Applied Arts sought an absolute and (Kunstgerbeschule) and began universal form of graph- expression through developing a graph-iic design and typography course. objective and impersonal presentation, commu- He did not teach a specific style to his students, rather he nicating to the audience taught a philosophy without the interference of style that dictated the solution to of the designer s subjective feelings or pro- the design problem should emerge from its content. Keller s pagandistic techniques work uses simple of persuasion. Many geometric forms, vibrant colors and of Müller-Brockmann s evocative imagery feature large photographs as objective sym- to further elucidate the meaning behind each design. Oth-boler early pioneers meant to convey include Théo Ball-himer and Max Bill. clear and porful ideas in particularly ways.
The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and flush left, ragged right text. The style is also associated with a preference for photography in place of illustrations or drawings. Many of the early International Typographic Style works featured typography as a primary design element, and it is for this that the style is named. Two major Swiss design schools are responsible for the early years of International Typographic Style. A graphic design technique based on grid-work that began in the 19th century became inspiration for modifying the foundational course at the School of Design in 1908. Shortly thereafter, in 1918 Ernst Keller became a professor at the Zurich School of the Applied Arts (Kunstgerbeschule) and began developing a graphic design and typography course. He did not teach a specific style to his students, rather he taught a philosophy of style that dictated the solution to the design problem should emerge from its content. Keller s work uses simple geometric forms, vibrant colors and evocative imagery to further elucidate the meaning behind each design. Other early pioneers include Théo Ballmer and Max Bill. The 1950s saw the distillation of International Typographic Style elements into san-serif font families such as Univers. Univers paved the way for Max Miedinger and collaborator Edouard Hoffman to create the font Neue Haas Grotesk, more commonly known as Helvetica. The movement began to coalesce after a periodical publication began in 1959 titled New Graphic Design, which was edited by several influential designers who played major roles in the development of International Typographic Style. The format of the journal represented many of the important elements of the style and was published internationally, thus spreading the movement beyond Switzerland s borders. One of the editors, Josef Müller-Brockmann, sought an absolute and universal form of graphic expression through objective and impersonal presentation, communicating to the audience without the interference of the designer s subjective feelings or propagandistic techniques of persuasion. Many of Müller-Brockmann s feature large photographs as objective symbols meant to convey his ideas in particularly clear and porful ways.
Johannes Gutenberg (c. 1398 1468) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His invention of mechanical movable type printing started the Printing Revolution and is widely regarded as the most important event of the modern period. It played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the Scientific Revolution, and it laid the material basis for the modern knowledge-based economy and the spread of learning to the masses. With his invention of the printing press, Gutenberg was the first European to use movable type printing. Among his many contributions to printing are the invention of a process for mass-producing movable type; the use of oil-based ink; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system that allod the mass production of printed books and was economically viable for printers and readers alike. Gutenberg s method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting and created a durable type. Gutenberg s major work, the Gutenberg Bible (also known as the 42-line Bible), has been acclaimed for its high aesthetic and technical quality. The use of movable type was a marked improvement on the handwritten manuscript, which was the existing method of book production in Europe, as ll as upon woodblock printing, and it revolutionized European book-making. Gutenberg s printing technology spread rapidly throughout Europe and later the world. In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society. The relatively unrestricted circulation of information including revolutionary ideas transcended borders, captured the masses in the Reformation and threatened the por of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class.
Johannes Gutenberg (c. 1398 1468) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His invention of mechanical movable type printing started the Printing Revolution and is widely regarded as the most important event of the modern period. It played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the Scientific Revolution, and it laid the material basis for the modern knowledge-based economy and the spread of learning to the masses. With his invention of the printing press, Gutenberg was the first European to use movable type printing. Among his many contributions to printing are the invention of a process for mass-producing movable type; the use of oilbased ink; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system that allod the mass production of printed books and was economically viable for printers and readers alike. Gutenberg s method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting and created a durable type. Gutenberg s major work, the Gutenberg Bible (also known as the 42-line Bible), has been acclaimed for its high aesthetic and technical quality. The use of movable type was a marked improvement on the handwritten manuscript, which was the existing method of book production in Europe, as ll as upon woodblock printing, and it revolutionized European book-making. Gutenberg s printing technology spread rapidly throughout Europe and later the world. In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society. The relatively unrestricted circulation of information including revolutionary ideas transcended borders, captured the masses in the Reformation and threatened the por of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class.
Johannes Gutenberg (c. 1398 1468) was a German blacksmith, goldsmith, printer, and publisher who introduced printing to Europe. His invention of mechanical movable type printing started the Printing Revolution and is widely regarded as the most important event of the modern period. It played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the Scientific Revolution, and it laid the material basis for the modern knowledge-based economy and the spread of learning to the masses. Gutenberg s method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting and created a durable type. Gutenberg s major work, the Gutenberg Bible (also known as the 42-line Bible), has been acclaimed for its high aesthetic and technical quality. The use of movable type was a marked improvement on the handwritten manuscript, which was the existing method of book production in Europe, as ll as upon woodblock printing, and it revolutionized European book-making. With his invention of the printing press, Gutenberg was the first European to use movable type printing. Among his many contributions to printing are the invention of a process for mass-producing movable type; the use of oil-based ink; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system that allod the mass production of printed books and was economically viable for printers and readers alike. Gutenberg s printing technology spread rapidly throughout Europe and later the world. In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society. The relatively unrestricted circulation of information including revolutionary ideas transcended borders, captured the masses in the Reformation and threatened the por of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class.
Four score and seven years The world will little note, nor long remember what say here; while it can never forget what they did here. It is rather for us, the living, to stand here, here be dedicated to the great task remaining before us -- that, from these honored dead take increased devotion to that cause for which they here, gave the last full measure of devotion -- that here highly resolve these dead shall not have died in vain; that the nation, shall have a new birth of freedom, and that government of the people by the people for the people, shall not perish from the earth. ago brought our fathers upon this forth, nent, a new conti- conceived in nation, erty, and dedicatetion to that the all proposi- lib- are created equal. men Now gaged in are a great en- civil whether war, that testing tion, or any nation na- so conceived, dedicated, can and
that here highly resolve these dead shall not have died in vain; that the nation, shall have a new birth of freedom, and that government of the people by the people for the people, shall not perish from the earth. rath- er for us, the living, to stand here, here be dedicated to the great task remaining before us -- that, from these honored dead take increased devotion to that cause for which they here, gave the last full measure of devotion is- It But, in a larger sense, can not dedicate -- can not consecrate -- can not hallow, this ground -- The brave men, living and dead, who struggled here, have hallod it, far above our poor por to add or detract. The world will little note, nor long remember what say here; while it can never forget what they did here. Now are engaged in a great civil war, testing whether that nation, or any nation so conceived, and so dedicated, can long endure. We are met on a great battle field of that war. We have come to dedicate a portion of it, as a final resting place for those who died here, that the nation might live. This may, in all propriety do. Four score and seven years ago our fathers brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.
The nor world will little note, long remember what never say here; while it can did forget what they the here. It is rather for us, living, to stand here, the here be dedicated to before great task remaining us that, -- from We a great are met battle on war. field We of have that come cate a to portion dedi- of resting it, as place a final might live. This for those may, who in all died propriety here, that do. the But, nation larger sense, can not dedicate -- can not consecrate in a men, living -- and can dead, not hallow, who struggled this ground here, -- The have brave lod it, far above our poor por to add or detract. hal- that here highly resolve these dead shall not have died in vain; that the nation, shall have a new birth of freedom, and that govern- ment of the people by the people for the people, shall not perish from the earth. Four score and seven years ago our fathers brought forth, upon this continent, a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now are engaged in a great civil war, testing whether that nation, or any nation so conceived, and so dedicated, can long endure.