Swiss Design

History and philosophy of the Swiss style1

While Swiss design may seem

minimal, for a piece to be successful

with so few elements, everything about

the image has to be thought through. The

end result may be sparse or simple, but

there was likely a good deal of analysis

put into every aspect of what little is shown:

the typeface, the size, the placement on the

page, the margins, the line spacing, the

ascenders, descenders, spacing between

letters, spacing between lines of text.

Everything is taken into consideration in

order to make the text on a piece pleasing

and easy to read.

Swiss graphic design, also known as International style, arose in the

1950’s in Switzerland. This graphic design style focuses on clear,

easily readable text and a rational, systematic layout. Like the

rest of the International movement, it is economical and

focuses on the function of the product while still being

aesthetically pleasing. “Form follows function”— Focus

on the function of a product first, and then make it

beautiful.

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Aside from being concerned

about readability, the Swiss style

of graphic design also sought to

present its content in an

objective manner without

pretense. The role of the

designer was to convey

information as effectively as

possible, with less of a focus on

originality or eccentricity.

Left: Josef Müller-Brockmann, “Beethoven”, 1955. Text is organized with size difference to emphasize importance. Very clear and organized text in one area. The rest of the space is activated by the semicircles. No color used, simply a black and white composition.

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The grid system was developed as a way to

systemize the composition of an image. It usually

entails breaking the picture plane into a grid, and

using it as a guide to place text and image in an

organized way. The grid system is useful for almost

anything, from posters, to books and pamphlets.

The formation of a grid depends on the content that

is going to be presented, and the way in which the

content will be used. One example is the creation

of a book page. for a larger book, the designer may

want to create a wider margin on the side of the

page that will be bound because if it’s a thick book,

then the page will bend and reading on the bent part

of the page may be unpleasant or difficult.

Depending on the needs of the designer, a grid may

be simple or sophisticated. The grid system helps

create an organized image, and may help in

creating a hierarchy of importance of content.

Considerations like this will help set the parameters

for the working area of a page, and then that working

area may be broken down into a suitable grid with

which the placement of the content will be guided

by.

“There are various reasons for using the grid

as an aid in the organization of text and

illustration.

Economic reasons: a problem can be solved

in less time and at lower cost.

Rational reasons: both simple and complex

problems can be solved in a uniform and

characteristic style.

Mental attitude: the systematic presentation

of facts, of sequences of events, and of

solutions to problems should, for social and

educational reasons, be a constructive con-

tribution to the cultural state of society and

an expression of our sense of responsibility.”

3 The Grid System

Right: Armin Hoffman, “Basel Theater”, 1963. Good example of Swiss design because of the simple black/white/red color scheme. The page has an underlying grid with 4 rows and 2 columns The image used is high contrast photography. Josef Müller-Brockmann

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5 Sans-serif typefaces

The main typefaces used were Akzidenz Grotesk,

Helvetica and Univers because of their clear, legible

nature. Univers was created in 1954 by Adrian

Frutiger, and Helvetica was developed in 1957 by

Max Miedinger and Eduard Hoffmann. Sans-serif

fonts were preferred because they bring the letter

down to its bare essential, making the text clean and

legible without flourish. In the words of Massimo

Vignelli:

“I don’t think that type should be expressive

at all. I can write the word ‘dog’ with any

typeface and it doesn’t have to look like a

dog. But there are people that [think that]

when they write ‘dog’ it should bark.”

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“Typography has one plain duty before

it and that is to convey information in

writing. No argument or consideration

can absolve typography from this duty.

A printed work which cannot be read

becomes a product without purpose.” —Emil Ruder

Since the goal of Swiss design is clear and effective

conveyance of information, the typography itself

has to take a humble backseat to the content it is

conveying. The typeface of Swiss design was prized

for being unobstructive and neutral. When a person

reads something, they are meant to read words, not

to dote over ascenders or serifs. This clear readabil-

ity has made Helvetica a popular font in things such

as road signage, and even today is one of the most

popular and well liked fonts.

Left: Josef Müller-Brockmann, “4 Junifestkonzert”, 1957. Very simple organization of text with use of size differences to establish hierarchies. Simple black/white/orange color palette with bars to activate space.

7 Limited color palette and photography

As with the use of simple, sans-serif typefaces,

the color palette of Swiss design also reflects

the idea of minimal embellishment to convey

an idea. The use of photography in design was

also popular, especially in terms of advertising

products, because what better way is there to

show a product than through a photograph of

it? Abstract geometrical designs were also used

during this period. For something other than type

to be included in an image, that thing had to

have a purpose, whether it be adding meaning

to the image, depicting something relevant to the

topic, or adding an element deemed necessary

to the composition.

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Left: Josef Müller-Brockmann, “Auto Club of Switzerland”, 1955. Simple use of color with an emphasis on the photography and text to convey message

Armin Hoffman, “Giselle”, 1959. Simple black and white image with high contrast photograph of subject used.

Paul Rand, “Dancer on Orange Ground”, 1939. three color palette with simple geometric shapes and photography.

“Perfection is achieved, not when there is

nothing left to add, but when there is nothing

left to remove.”

Antoine de Saint-Exupéry

Brockmann, Josef. Grid systems in graphic design: a visual communication manual for

graphic designers, typographers, and three dimensional designers = Raster Systeme für die

visuelle Gestaltung : ein Handbuch für Grafiker, Typografen, und Ausstellungsgestalter. Nied-

erteufen: Verlag Arthur Niggli ;, 1981.

Hollis, Richard. Swiss graphic design: the origins and growth of an international style,

1920-1965. New Haven: Yale University Press, 2006.

Ryan, David. Letter perfect: the art of modernist typography, 1896-1953. San Francisco:

Pomegranate, 2001.

9 Bibliography

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Designed by Taylor Grant,

Spring of 2013

AaAkzidenz-Grotesk typeface designed by

Günter Gerhard Lange in 1896

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