1. 10 IAT 102 Graphic Design

2. 10 Review (Early Modern & New Typography) Swiss Style + New Typography Adrian Frutiger: Univers-Font Select project topic (vote)

3. 0808 IAT 102 Graphic Design

4. Early Modern Art the great experiment

5. Jan Tschichold 1902-1979 A Swiss national, he was a typographer, book designer, teacher and writer.typographer Tschichold became a leading advocate of Modernist design: through his most noted work Die neue Typographie (The New Typography) This book was a manifesto of modern design, in which he condemned all fonts but sans-serif (called 'Grotesk' in Germany).sans-serif He also favoured non-centered design (e.g., on title pages), and codified many other Modernist design rules. Text and image source: Wikipedia

6. Poster topics review - a new language of form Russian Constructivists Futurists, Dada, De Stijl, the Bauhaus, etc. -Visual form becomes the content -Perceptual experience from the arrangement of these forms

7. Advocated the use of sans-serfi type, asymmetrical layout and the grid as an underlying structure. The New Typography - Germany 1928

8. Jan Tschichold (Germany): Typographische Mitteilungen, 1925 -Dynamic force should be present in each design. -Type should be set in motion. -Asymmetrical layout. -Flush left headlines with ragged edge -Kinetic asymmetrical design of contrasting elements (expressed new machine age) -San-serif type (without any embellishments) in various weights -Designs based on underlying horizontal and vertical structure -Spatial intervals important elements - Rules bars and boxes were often used for structure, balance and emphasis -White space used as structuring element -Clarity and beauty -Form from the function of the text -Photography favored over illustration

10. Jan Tschichold (Germany), late works: traditional typography, humanist tradition

11. 1928 Tschichold New Typography 50-60ies Ruder White Space 1961 Muller-Brockmann The Grid

12. Armin Hofmann, 1954 New York School -1950’s (International Typographic Style) - asymmetrical organization - mathmatical grid - objective photography - abstracted repeated geometric form - clear and factual - sans serif typography -Design solution comes from content Herbert Matter, Max Bill, Otl Aicher, Emil Ruder, Armin Hofmann, Josef Müller-Brockmann - (Chapter 18, Meggs)

13. International typographic style- 1950’s More important then the visual appearance of the work is the attitude developed by its early pioneers. Designers defined their role as objective conduits for spreading important information between components of society. Order and clarity were the ideal. Josef Muller-Brockmann 1914-1996

14. Josef Muller-Brockmann – concert series Müller-Brockmann used colour, an arrangement of elemental geometric forms, and type to express the structural and rhythmic qualities of music.

15. Josef Muller-Brockmann – concert series Used fonts in twoMüller-Brockmann's belief that using one typeface in two sizes (display and text) makes the message clear and accessible to the audience.

16. With Geometry

17. Josef Muller-Brockmann – auto club His photographs treat the subject as an objective symbol, gaining impact through scale

18. Josef Muller-Brockmann – photography Used fonts in twoMüller-Brockmann's belief that using one typeface in two sizes (display and text) makes the message clear and accessible to the audience.

19. Swiss International Style– Armin Hoffman

21. American Design– mid century European underpinnings Egalitarians society, capitalist values, limited artistic traditions, ethnically diverse Emphasis was placed on express of ideas an open, direct presentation of information. Highly competitive society, novelty of technique and originally priced. Communication problems and individual expression

22. New York School– 1940 - Paul Rand

23. New York School– Paul Rand Reduced communication content to a symbolic essence “It pinpoints the distinction between abstract design without and abstract design with content,” he insisted. “You can be a great manipulator of form, but if the solution is not apt, it’s for the birds.” – Paul Rand

24. New York School– Paul Rand Reduced communication content to a symbolic essence

25. New York School– Paul Rand

26. New York School– Bradbury Thompson

28. i-clickers– Swiss international style Identify a key difference between New Typography and Swiss International Style. A.Mathematical grids B.Asymmetrical layout C.Designers defined their role as objective conduits for spreading society. D.San-serif font E.Direct communication of idea

29. i-clickers– Swiss international style Identify a key difference between New Typography and Swiss International Style. A.Mathematical grids B.Asymmetrical layout C.Designers defined their role as objective conduits for spreading society. D.San-serif font E.Direct communication of idea

30. i-clickers– Swiss international style Identify a key difference between Swiss International Style New York School. A.Mathematical grids B.Asymmetrical layout C.San-serif font D.Individual expression E.Use of white space

31. i-clickers– Swiss international style Identify a key difference between Swiss International Style New York School. A.Mathematical grids B.Asymmetrical layout C.San-serif font D.Individual expression E.Use of white space

32. i-clickers– Swiss international style Project topic. A.Movies B.Biographies C.Novels D.Famous places E.Technology (old and new)

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